Digital Photography - Volume 36

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EDITORS WELCOME
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n Kill em all
Shot by Stephen Dupont
in Afghanistan. Turn to
page 20 for more
Editors
welcome
A
re you ready for

a walk on the wild
side? In this issue of
Digital Photography,
weve decided to focus on
shooters who are willing to step
outside their comfort zones.
The great Ken Duncan sets the
scene on page 10 with a close
look at a much-neglected aspect
of his body of work. Were so
used to his expansive panoramas that we forget the man
is a pretty dab hand at portraiture and wildlife too. And
if youve ever wanted to know what its like stalking (and
being stalked) by wild creatures while lugging around
a large format camera, this ones well worth a look.
Weve paired that article with another step into the
wild Jan Lattas True to Herself (page 42). Talk about
a bold career step: Jan left a high-paying job in Tokyo
to shoot endangered species in Africa, China, Borneo,
Sri Lanka, Uganda and more, which she then parlayed
into a successful series of childrens books.
Another pair of especially confronting features in
this issue are the interviews with Australian reportage/
documentary shooters Jack Picone (page 26) and
Stephen Dupont (above and page 20). Between them
these two extraordinarily bold war photographers

have seen an awful lot of strife over the years some
of it side by side. Picone estimates he came close to
death conservatively, six times; Dupont captured a
now-famous series of stills and video in Afghanistan
of US soldiers burning dead Taliban. Outside their
comfort zone is where these two live.
From our Walking Pro, Canberras Doug Hall, comes
a challenging assignment: photographing rapid fire
studio portrait sessions with no budget, no make-up,
no stylists and minimal post-production. Can he make
his subjects look amazing with just five minutes each?
Turn to page 74 to find out.
Were also treated to a fascinating look at the aftermath
of the 2011 earthquake that struck Christchurch. Doc
Rosss approach to the subject marrying portraiture
with scenes of everyday wreckage and intense
rebuilding efforts is a lesson in pure sensitivity. Enjoy.
Greg Barton
Editor@dpmagazine.com.au
Facebook.com/DigitalPhotographyMag
Twitter: @DPMagAustralia
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DIGITAL PHOTOGRAPHY | 3
Contents
WorldMags.net
Digital Photography: Volume 36
Features
10 Life is a journey
Landscape legend Ken Duncan has more strings to

his bow than simply panoramas
20 The career makers
Sydneys Stephen Dupont reflects on an image he

captured while embedded in Afghanistan one that
saw a profound change to US military policy
26 Going to war with a camera

Renowned Australian photojournalist Jack Picone
delves into the dangerous world of war zones and
discusses the moment he finally ditched the DSLR
34 Looking up
Adelaides Chris Oaten shares his fascination with

architecture and the road that led him to spend so
much time gazing skyward
42 True to herself
A renowned wildlife photographer and author of

the successful True to Life books, Sydneys Jan Latta
is always looking for that next big adventure
50 The man in the moment
NZ shooter Doc Ross covered the aftermath of the

Christchurch earthquakes in a unique way. Here we
present his tribute to those 37 devastating seconds
56 Great Ocean Photos
Wilderness, wildlife and wild oceans make Victorias

Shipwreck Coast an adventure for the camera and
your car, writes Ewen Bell
78
10
84
Tutorials
78 FEEL
Canberra shooter Shanx Bose blends

an HDR background with a well-lit
studio subject to create a gorgeous
hyper-real image
84 AWAKENING
Slovenian designer Kristina Alegro

shows us how to bring an abstract
image to life through extreme
textural manipulation
4 | DIGITAL PHOTOGRAPHY
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CONTENTS
THE TEAM
EDITOR
Greg Barton
Technique
DEPUTY EDITOR
Lisa Perkovic
EDITOR-AT-LARGE
Ewen Bell
SUB EDITOR
Adam Scroggy
COVER IMAGE
????????????
ART DIRECTOR
David West
CREATIVE DIRECTOR
Paul Cook
GROUP EDITOR
Alex Mead
Video Corner
74
Walk with a Pro
CONTRIBUTORS
Doug Hall, Corey Middleton, Darren Lunny,
Shanx Bose, Chris Oaten, Kristina Alegro
Darren Lunny chats with DSLR

video pioneer Philip Bloom
Natural Beauty: a portrait shoot

using zero make-up or styling
ADVERTISING
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68
Your questions answered by

our panel of photo gurus
Ask the Experts
GROUP SALES MANAGER

Alex Brereton (02) 9186 9109
Reviews
MANAGEMENT
DIRECTOR
Jim Flynn
FINANCIAL CONTROLLER
Stuart Harle
98
90
EDITORIAL DIRECTOR
Richard Ryan
PRODUCTION MANAGER
Ian Scott
Distributed by Network Services Company in
Australia and Netlink in New Zealand.
92
100
114
102
Printed by C&C Ofset Printing Company

Limited (China).
PUBLISHED BY
Citrus Media
PO Box 20154
World Square NSW 2002
2014 Citrus Media. All rights reserved. No article
or images may be reproduced wholly or in part
without prior written permission from the publisher.
Citrus Media is a division of Media Factory Pty Ltd.
90 Cool Gear
This months round-up of all the

gear and gadgets we love
92 Canon 1Dc
Extending the ability of the

1Dx with 4K video and 60fps
98 FUJINON
XF14mm f/2.8
Retro wide prime for X-mount
lenses that delivers on quality
100 Jinbei
104 True colours
A portable lighting option

that takes moments to master,
yet delivers virtual studio quality
on the go
108 Readers
Discovery II 600
102 Stacking up
How does Tamrons

rejuvenated SP 70-200mm
f2.8 VC A009 fare against its
more expensive competitors?
Ewen Bell on a less is more

approach to colour fidelity
Gallery
While every care was taken during the preparation

of this magazine, Citrus Media cannot be held
responsible for the accuracy of the information or any
consequence arising from it. All judgements are based
on equipment available to Citrus Media at the time
of review. Value for money comments are based on
prices at the time of publication. Citrus Media takes
no responsibility for the content of external websites
whose addresses are published.
Works of art from the Digital

Photography community, with
prizes to be won!
114 Parting Shot

Ken Duncans Essential Oils
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Creative
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insights
Broaden your horizons with these inspirational images
GREAT OCEAN PHOTOS

Pick a spot early and watch the changing light. As an added bonus,
the Fairy Penguins make their run home just after the sun goes down,
gathering in rafts of up to a hundred and riding into the shore together.
For more from Ewen Bell, turn to page 56.
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LIFES A JOURNEY
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I needed to get very close to whatever

animal I was photographing, which at times
could be pretty dangerous. Even after being
charged by an elephant, then later chased
by lions in Tanzania, I stuck at it. For more
from Ken Duncan, turn to page 10.
A CAREER IN BLOOM
Youll learn a hell of a lot more a
hell of a lot quicker by interning with
someone for three months than you
would in three years at film school.
For more from Darren Lunnys interview
with Philip Bloom, turn to page 68.
WorldMags.net
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NATURAL BEAUTY SHOOTING

A model friend said she couldnt remember the last
time she was on a shoot that she wasnt in hair and
make-up for two hours. That sounded like a challenge
to me, so I said to her, You dont need all that to make a
great image. And I promised to prove it to her. Formore
from Doug Hall and the Walking Pros, turn to page 74.
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FEATURE
KEN DUNCAN
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KEN DUNCAN
LIFES A
JOURNEY
n Elephant, Kenya
After capturing my now-famous

image of an elephant, The Power
of One, I truly fell in love with
shooting wildlife in large format
WorldMags.net
LIFES A JOURNEY
WorldMags.net
en Duncan is famous
throughout the world for
his stunning landscapes
and panoramas that leap
from the frame straight into your heart.
Yet theres another side to one of
Australias most iconic photographers.
Here, in an exclusive extract from his
latest book, Lifes a Journey, were treated
to a special glimpse into Duncans
extensive forays into portraiture and
wildlife photography. We think youll
agree that the wonderful images and
fascinating stories behind them
demonstrate a passion and skill thats
equal to any iconic Duncan panorama.
WorldMags.net
KEN DUNCAN (LEFT) PHOTOGRAPHED BY LUKE PETERSON
You know him as one of Australias foremost landscape and

panoramic photographers. Now, with the release of his latest book,
we discover theres a lot more to Ken Duncans body of work than
meets the eye.
FEATURE
KEN DUNCAN
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Many people desire riches

and fame, but I have seen
how difficult that road can be
Power and passion

Mel Gibson and I have been good friends
since we were about 18. He has always
been a larrikin and a dreamer and
I found it hard to relate to him as the
great driver in Mad Max. I remember the
young Mel, who would be dreaming so
much even while driving that he would
sometimes miss a stop sign. He would just
sail on through, with the traffic around him
doing seemingly magical diversions. His
passengers blood-curdling screams would
thankfully bring him back to earth, and
he would ask: Whats up? He was a lucky
young man, no doubt, and I thought it a
miracle that he survived.
When we left school, Mel was the
starving artist following his passion,
and I became the businessman seeking
money and possessions. Mel visited me at
work one day and told me he felt he
should settle down maybe take a
television role for a more regular income.
I said, Dont do it; dont let go of your big

movie dream. What I have may look good
but, really, it sucks.
It wasnt long after this that Mel got his
movie break. He headed to Los Angeles
to follow his star and soon after that I sold
up and went walkabout in the Australian
outback. I thought it would only take me
three months to photograph Australia, but
I disappeared for three years as I learned to
capture the beauty of creation in panoramic
format. When I returned to Sydney I
contacted Mel, who had meanwhile
become a superstar. He was still the same
mate I had known with a heart of gold,
which has always been his greatest asset.
I am very proud of how Mel has
stood up over the years to the trials
and tribulations he has been through.
The movies he has made are tribute to
his tenacity and to his talent as an actor
and director and I know that many more
great works will come from this man.
Mel has been a tremendous blessing to

me over the years. Watching his life has
helped me learn a lot of lessons without
me having to go through the same ordeals.
Many people desire riches and fame, but
I have seen how difficult that road can be. It
is a tough world and there are a thousand
spotlights aimed at anyone who takes the
stage. The Pandoras box of possibilities
presented to people in positions of power
or influence can be overwhelming.
Over the years Mel and I have shared
some special times. This shoot was one such
time. Mel wanted out of the movie industry
for a while so he decided to become
Farmer Brown and get back to earth. He
bought an awesome cattle farm in Victoria.
In 1987 Mel met a local guy, Rob Taylor,
who was running as an independent
candidate for their area in the federal
election. Mel liked Robs family values
so he got behind his campaign.
When the media became aware of Mels
WorldMags.net
LIFES A JOURNEY
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IMAGES
FARMER MEL
(left + below) Mel

Gibson on the farm,
Tangambalanga, Vic.
Mel wanted out of
the movie industry
for a while, so he
decided to become
Farmer Brown and
get back to earth.
WorldMags.net
FEATURE
KEN DUNCAN
WorldMags.net
endorsement, Rob started getting huge

publicity talk about a Lethal Weapon.
I headed down to Mels farm to see
what was happening. At the farm Mel
received a threatening phone call from
one of the heads of the Labor party at
that time. Mel was told he needed to
stay with acting and get out of politics
or action would be taken against him.
One comment went something like this,
Well find problems with your taxes.
Obviously the Labor party was concerned
about the impact Mels involvement was
having on their candidates chances.
Mel got off the phone, clearly shaken
and upset, and told me what had
transpired.Can you believe a government
leader would threaten me, just because
I stand up for someone? he asked.
What sort of country has this become?
That incident left a barb in Mels heart,
and, I believe, was one of the reasons he
left Australia to live in America. To Mels
credit he didnt back down because of the
threats. He went to a rally to support Rob

Taylor and here are some of images of that
Braveheart time.
The issue here is not about Liberal or
Labor. Its about integrity or the lack of it
in politics. Are we a nation that condones
the threatening of people who have an
opinion? A politician friend of mine recently
said, Politics is the hardest game to play.
You often have to compromise something
you believe in to get something else for
the greater good. I replied, You need to
be careful. If you start compromising your
core beliefs and the policies you were
voted in for, then there is no greater good.
There are many politicians with high
integrity and many more who started out
that way. But too often they allow party
politics to compromise their beliefs. We
need integrity and accountability from
those in power. With great power comes
even greater responsibility and if people
dont use their power to benefit others, it
will consume them.
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LIFES A JOURNEY
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IMAGES
FARMER MEL
(far left) Can you

believe a government
leader would threaten
me, just because
I stand up for
someone, asked Mel.
LEOPARD,
BOTSWANA
(left) When I
zoomed right in
on the image, I was
overwhelmed by the
clarity. I had nailed
my first winner.
If people dont use their

power to benefit others, it
will consume them
WorldMags.net
FEATURE
KEN DUNCAN
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I knew I needed a large format

digital camera or I wouldnt
survive wildlife photography
WorldMags.net
LIFES A JOURNEY
WorldMags.net
IMAGES
GORILLAS
IN THE MIST,
RWANDA
(far left) Shot

with a Phase One
P65+; 1/50sec;
f/7.1; ISO 400
ZEBRA,
TANZANIA
(left) I was able

to get a rare Mamiya
500mm f4.5 lens
to fit the Phase
One and bring the
wildlife closer.
CHARLIE
AND BOOTS
(below) Paul
Hogan and Shane
Jacobson have to
be two of Australias
funniest men and
I found it a real
pleasure to be in
their company.
Wildlife love affair

After capturing my now-famous image
of an elephant in Zimbabwe, The Power
of One, I truly fell in love with shooting
wildlife in large format.
My main camera at the time was a
Linhof 617 film camera with a very wideangle lens; I needed to get very close to
whatever animal I was photographing,
which at times could be pretty dangerous.
Even after being charged by that elephant,
then later chased by lions in Tanzania,
I stuck at it. The incident that finally
forced me to reconsider my choice of
camera was when three rhinos in

Botswana wanted to play chicken
with me. I knew I needed to get a
large format digital camera system so
I could use longer lenses. Otherwise
I wouldnt survive wildlife photography.
The Phase One digital camera I was
already using for my landscape work
seemed like the obvious choice. With its
80Mb sensor, it matched the resolution
I was getting on my film camera. The only
problem was that the Phase One didnt
give me a long enough lens for shooting
wildlife. Fortunately, I was able to get a
very rare Mamiya 500mm f4.5 lens to

fit the Phase One. That lens equivalent
to about a 300mm lens on a 35mm format
camera allowed me to bring the wildlife
closer, without undue danger. The only
obstacles were that it had no image
stabilisation and only allowed for manual
focus and exposure.
I took my new toy on our next African
photo safari, mounting my camera and
lens on a sturdy tripod with gimbal head
for maximum stabilisation. But I was
surrounded by people using 35mm
systems plus my wife and daughter
WorldMags.net
FEATURE
KEN DUNCAN
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Miraculously, three young

tigers came and posed on a
rock ledge right in front of me
with their great Lumix cameras all of
which are far easier to use.
I had major problems focusing
quickly enough and missed many shots.
My highest ISO was 200, so my shutter
speeds were low and I had to use mirror
lock to stop mirror vibration on slower
exposures. I was getting terribly frustrated.
The last straw was when a leopard jumped
out of a tree and my wife showed me the
shot shed snapped. Shed nailed the shot
and her image was sharp, while Id missed
the magic moment because I couldnt
respond quickly enough with all the
different things I had to consider.
At that point I was ready to give up

on the new gear and go with the flow
like everyone else, shooting with smaller
format cameras. Id never heard of anyone
pulling off what I was trying to do; I was
sorely tempted to take the easy road.
As I brooded over my dilemma, I realised
that often in life, when you try something
different, its really difficult. If it was easy,
everyone would be doing it. I decided
to push the frustration aside, steel myself
and not give up. I had to persevere with
my new gear and understand I would miss
some of my shots. But when I managed to
get it right, the resulting photos had the
chance of being very special. The reward

for my tenacity was the photo on page 15
(Leopard, Botswana). I had waited hours
for this precise moment and while the file
was opening on my computer I wondered
how sharp it would be. When I zoomed
right in on the image, I was overwhelmed
by the clarity. I had nailed my first winner
and the detail was almost mind-altering.
So my wildlife adventure continues.
Laughter is the best medicine

What a blast it was to be invited onto set
to take special panoramic stills for the
movie Charlie and Boots (previous spread).
WorldMags.net
IMAGES
CURIOUS CUBS
(above)
Miraculously,
three young tigers
came and posed on
a rock ledge right in
front of me.
OILS, SOUTH
COAST NSW
(right) Im
honoured to have
had one of my photos
chosen for the cover
of their latest album,
Essential Oils.
LIFES A JOURNEY
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I loved the movie, and I think over time it
could become an Aussie classic. Beautifully
shot and directed, the film really captures
the quintessential character of Australians,
and our wonderful rural lifestyle.
It was a pleasure to work with the movies
team. There were no precious princes or
princesses everyone just worked together
like a well-oiled machine. Paul Hogan and
Shane Jacobson have to be two of Australias
funniest men and I found it a real pleasure to
be in their company. Like fire and oxygen,
theyd feed off each other you couldnt help
but laugh. These are two guys I definitely
wouldnt want to attend a funeral with, as I
think wed end up getting kicked out.
It is said that laughter is the best
medicine. If thats the case, I reckon after
working with these blokes, I could
probably have climbed Mount Everest.
They both told so many jokes and I tried to
remember them all, but thats definitely
not my gift. In the end, however, I did
remember one joke that Paul told:
Two nuns were driving along an outback
road, when Satan landed menacingly on the
bonnet of their moving car. They were both
shocked, but the nun who was driving
recovered first and shouted to the other
nun, Quick, show him your cross. When
her passenger didnt move, she screamed
louder, Show him your cross. So the other
nun carefully wound down the passenger
side window, stuck her head out and
screamed at the top of her voice, Get off
the bloody bonnet of our car.
Chasing tigers
My desire to photograph tigers led me
to Bandhavgarh National Park in India.
Photographers there for National
Geographic were amazed at my large
format camera and said I would never get
close enough with that sort of gear. After

three days in the park, I hadnt captured a
tiger shot I was happy with, but I hadnt lost
hope. On our last game drive in the park,
my driver suggested we take one last look
for the young tigers and I readily agreed.
We reached the area that he thought
would provide the best opportunity. There
were cars everywhere. Everyone was trying
to get a shot of tigers in the grass, but they
werent in a good position. My driver said
we should move up a bit and wait, as the
tigers might come to us. So we left
everyone else to fight over average shots
and went to take our last stand. After we
positioned ourselves, the mahouts (rangers
riding elephants) stopped the other vehicles
from following. They wanted to leave an exit
route for the tigers if they did head our way.
Miraculously, three young tigers came and
posed on a rock ledge right in front of me
(left). The lens I had was ideal; all three cubs
just fitted into my frame. In the background,
I could hear others yelling at us to move so
they could shoot from our position, but the
mahouts wouldnt allow any cars to move.
All three cubs looked right at me, before
disappearing into the forest. The National
Geographic guys finally came up and said,
Dont tell us you just got the shot! I said, I
think I did. And the gear I had was perfect.
on strong: The rich get richer and the

poor get the picture.
Their music practically blew walls down;
if you ever saw them live, you would know
what I mean. Even if dancing didnt come
naturally to you, the beat and the volume
wouldve moved you. It saddened me when
the new music stopped, and I still hope
theyll start song-writing again. If ever we
needed stirring themes and words of hope,
the time is now (and Im sure they all still
have more to say). But whether or not they
perform again, the songs theyve already
produced will live on and Im honoured to
have had one of my photos chosen for the
cover of their latest album, Essential Oils.
As well as being talented musicians,
they are a generous bunch of people with
a real heart to help our indigenous people
in outback Australia. When I asked for
their help, they agreed without hesitation
to personally sign a few prints of their
Essential Oils cover artwork to raise
money for the Walk a While Foundation.
Thanks, guys, for all the great memories.
For more of Kens images, and to
purchase copies of Lifes a Journey
(Panographs Publishing, $59.95),
check out kenduncan.com
Essential oils
Midnight Oil, in my opinion, is one
of the greatest rock bands Australia
has ever produced. Theyre all extremely
passionate people and I feel privileged
to have worked with the band and their
management over the years. I never
aspired to photograph rock bands, but
I loved working with the Oils because
they had something to say through their
music. One of Robs great lines still lives
WorldMags.net
CAREER MAKER
STEPHEN DUPONT
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THE
CAREER
MAKERS
n Child in cart, East Timor, 1999
That child for me summed up this

idea of innocence reflecting a moment
of total confusion and horror.
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THE CAREER MAKERS
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STEPHEN
DUPONT ,
PHOTOGRAPHER,
ARTIST,
FILMMAKER
STEPHEN DUPONT (ABOVE) PHOTOGRAPHED BY J. BRADLEY SCOTT
In October 2005, Sydneys

Stephen Dupont captured an
image that swept around the world,
resulting in a change to US military
policy and the conduct of their
armed forces. Here he discusses
the impact of war and the integrity
of showing what youve seen.
Dili burns behind a small
child in a cart
I took this in 1999 in Dili, East Timor.
It was just after their first elections for
independence, so it was literally when
the Australians landed and the INTERFET
[International Force for East Timor] forces
landed to take back East Timor and force
the Indonesians to leave. So it was that
real Year Zero time, when there was quite
a lot of anarchy and still a lot of militia
running around. The Indonesian soldiers
were so pissed off at the arrival of the
Australians and the internationals and
so disappointed that theyd lost East Timor
that they decided to ransack and burn
down the city. This photograph is a result
of that destruction.
There was a lot of movement of locals on
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CAREER MAKER
STEPHEN DUPONT
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n Amputee, Afghanistan, 1998
Here was a guy running around with

an AK47 and two prosthetic limbs.
IMAGE
AMPUTEE
(left) You can

tell from the look
on his face that he
has seen war.
TALIBAN
BURNING
(right) As a
photojournalist,
you cant not show
what youve seen.
the streets, people leaving the city because

of the anarchy, so you had all these
displaced people; everyone was either
trying to leave or find somewhere safe.
Thats when I saw an old man pushing this
cart with a child inside it, and I just thought
as an image this would represent what was
going on at that particular time. That child
for me summed up this idea of innocence
reflecting a moment of total confusion and
horror. I thought it would be somehow
emblematic of what was going on.
As I took the shot, I decided not to
include the old man because I really just
wanted the attention on the child. I thought
the child had this absolute look of shock
and obviously trauma. Later when I saw
the photo I was very surprised with how
it came out. You never know when youre
shooting film exactly what youve got until
later. I had a feeling I had something, but I
didnt quite know. For me it was one of the
key images I came away with from that trip.
The image has become reasonably iconic
over the years. The Australian War Memorial
used it quite extensively it appeared in

a book of theirs called Contact, which was
edited by Shaune Lakin and goes through the
history of the War Memorial, looking at iconic
photographs represented by Australians in
war. It was also used in a touring exhibition
of war art that the War Memorial conducted
around Australia. John McDonald, the
Sydney Morning Herald art critic, wrote
something really interesting about that
image. Im paraphrasing, but essentially
he said it was the most moving piece of
art he saw in the entire exhibition, and that
it represented everything the exhibition
was hoping to portray. That was quite an
amazing compliment coming from him.
Amputee
I took this shot of a Mujahideen soldier in
1998 in Bagram, Afghanistan. At that time
Bagram was the southernmost frontline
for the Northern Alliance, who were
fighting the Taliban. Id met this soldier
while I was shooting along the frontline.
I saw him first then noticed his prosthetic
arms and I was quite taken aback. Here

was a guy running around with an AK47
and two prosthetic limbs. I was really
intrigued. Through an interpreter I asked
whether he could even fire the gun, and
the response was yes, he could; he could
cock the gun and fire it all with his plastic
fingers. He was very committed to the
cause and to fighting the Taliban.
He told me hed been working with
a de-mining company and had his arms
blown off by Taliban mines. He blamed
the Taliban, so after he got his prosthetic
arms he learnt how to shoot and decided
he would join the Northern Alliance and
try to kill as many Taliban as he could.
My next thought was, How am I going
to make the strongest image I can of this
soldier to properly encapsulate that? We
were inside a kind of a bunker a bombed
out house, really and I asked him to stand
in front of this bullet-ridden wall. I wanted
it to be shot in such a way that you dont
notice straight away that he has plastic
arms. I think its a powerful statement, from
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THE CAREER MAKERS
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his own personal story of losing his arms
to a mine, then taking up a weapon to try
and kill the people who blew his arms off.
I thought there was an interesting irony
to the whole thing, and Im sure this is
just one of many stories like that.
You can tell from the look on his face
that he has seen war. Hes definitely shell
shocked. I think the eyes tell a lot about the
internal trauma that this soldier and many
others deal with. You do see it in the eyes.
The photograph was chosen recently by
Anne Tucker out of the Houston Museum
of Fine Art, along with some other curators,
for a major book and exhibition called
WAR/PHOTOGRAPHY: Images of Armed
Taliban burning
On October 2 I was in a village called
Gonbaz in Shawali-Kot, which is in Kandahar
Province, Afghanistan. I was on an embed
with the US army, with the 173rd Airborne,
and I was actually travelling with PSYOPS
I was embedded with Psychological
Operations within that mission. They were
looking for Taliban insurgents, and during
this operation there was a gunfight. I missed
the actual combat because I got there a
couple of hours after it happened, but when
I got there we heard that two insurgents
had been killed and were up on top of this
hill. Since we got there really late at night,
the next day I asked my lieutenant, who was
As I was approaching I saw

an American soldier flick a
match onto the bodies
Conflict and its Aftermath. Its probably
the most important collection of war
photography ever curated, and is
essentially the whole history of war
photography. I thought that was an
interesting choice to be honest; theres
a mixture of all sorts of different pictures
in there, but that one was one of two of
my pieces that were chosen, so its been
placed in that context of history now.
in charge of the platoon I was with, if I could

go up and make pictures. He said I could,
so I climbed up this hill with an escort and
came to the crest of the hill to see if I could
make some photos of these Taliban.
As I was approaching I saw an American
soldier flick a match onto the bodies, and
whoof a huge lot of flames shot up. Thats
when I saw the petrol can next to them
and I thought, Okay After that I had
to work very quickly and managed to get

the photographs of the body burning, and
was able to shoot some video as well, but
essentially I was just capturing this scene
of bodies burning with American soldiers
standing around. As that was happening
I could hear the PSYOPS guys Id been
travelling with, with their loudspeakers,
broadcasting across the valley we were
in these anti-Islamic and inflammatory
announcements degrading the enemy.
Saying all sorts of nasty stuff and using
the actual body burning as a form of
psychological torture.
The photograph I wouldnt say is
necessarily a great image, but its evidence
of something extraordinary that happened
that I was just fortunate enough to capture.
Its something I believe has been happening
for a long time, throughout all wars. I dont
think its the first time soldiers have taken
enemy bodies and burned them or even
used them for propaganda or psychological
operations but I think its one of the first
times its been captured by a photographer
and videographer.
When the story broke it basically made
world headlines and for a very short period
was the biggest story in the world. It was on
every single TV station in America, it opened
up on Good Morning America and just went
viral. It was all over the internet and kicked
up a big storm all around the world. You had
people about to riot throughout the Islamic
world it was a very similar reaction to the
n Taliban burning
its evidence of something

extraordinary that happened that I
was just fortunate enough to capture.
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CAREER MAKER
WorldMags.net
STEPHEN DUPONT
Korans being burnt or the torture of the Abu

Ghraib victims, so you had this real sense
of down with America; how could you do
this? and the Islamic world was up in arms.
You even had Donald Rumsfeld coming
out with statements on the footage and
the photographs, and also President Karzai
of Afghanistan trying to calm his people,
saying, Please dont riot, we can sort this out.
The resulting impact of the images and
video was that certain people involved in
the incident were reprimanded or charged.
But what I also heard was that it changed
US military policy in that they issued a
handbook to all US soldiers in Afghanistan
and Iraq, and within that handbook they
had a cultural sensitivity section that
basically said dont burn your dead
enemies. So it really did make history;
it was a piece of journalistic evidence that
really changed the way people thought
and did things. To actually get under the
nose of the US military like that was a
huge thing. I was very proud to be able
to expose the injustice of what was going
on, and of the impact it had on the US
military machine; the fact that it did
change US policy, and that they suspended
all psychological operations as a result of
it for a time. As a direct result I was also
nominated for a Pulitzer Prize for the New
York Times, who published the images, and
I was awarded a runner-up in the Robert
Capa Gold Medal that year for that work.
I wasnt happy with the fact that certain
people got into trouble over it people
that I dont believe should have gotten
into trouble. That was just the unfortunate
blowback. At the same time, as a
photojournalist, you cant not show what
youve seen. I had to. The integrity of my
profession was hanging on a thin line.
Blue boy
This is a very recent photo, taken in 2011,
and it represents a real shift in the kind
of photography I do these days. Im still
very much a documentary photographer,
and my love and passion lies there
going out with my Leicas and capturing
that kind of imagery. But the other side
of my photography is very much about
portraiture, and certainly over the last
10 years Ive been doing a lot more of it,
going into large format cameras.
In 2010 I was awarded the Robert Gardner
Fellowship in Photography from Harvards
Peabody Museum, something thats given to
one person each year. I had no idea about it,
because you have to be invited, but I guess
I was nominated through a board, was
asked to apply, and I won the fellowship.
The project I proposed was to spend
a year in New Guinea photographing
detribalisation, looking at the changes
taking place there as a result of globalisation
and the encroachment of the West. New
Guinea is shifting almost literally from the
Stone Age into modernity and as such is a
country of huge extremes, where you see
elements of grass roots, traditional custom
I was very proud to be

able to expose the injustice
of what was going on
and cultures right alongside modern society.
I made a series of portraits using a white
sheet as a backdrop for any black-and-white
images, and a black sheet for colour images.
The way Id been doing it was to have
people involved in the scene hold up
the sheet for me, so that the background
itself becomes an element of the image.
Each image is then not just about the
person being photographed, but about
the environment around, the organic
nature of the sheet, and about whatever
occurs spontaneously that I can capture.
This particular shot was taken in Mt
Hagen during the traditional cultural show
there the sing-sing which is an annual
gathering of tribes where they compete for
money and gifts from the local government
and private sponsors. The show was actually
introduced by the Australian government
back in the 1950s to bring warring tribes
together in peace, to see if they could stop
people killing each other and trade instead.
Its become much more commercial over
the years, but its still a very important
event and retains that sense that if you go

to the sing-sing, you leave your tribal war
back in the village, and for that moment
you are neutral.
To me, this little boy obviously stood out.
Everyone there is in traditional dress, but
I noticed this one group of guys wearing
black boot polish and carrying wooden
guns, and I thought it was very interesting
that this was modern society come directly
into a customary gathering. When I asked
him what his costume represented, he told
me it represented the Australian Colonial
Patrol Officers from a time when the
Australians were in New Guinea and used
locals as patrol officers or local police. So
these kids were dressed as native policemen
employed by the Australian government.
Its an image I feel really strongly about
in terms of what I was trying to capture
over there about detribalisation and
Australian colonisation.
For more of Stephens work, check out
stephendupont.com
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BLUE BOY
New Guinea is
shifting almost
literally from the
Stone Age into
modernity.
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FEATURE
JACK PICONE
WorldMags.net
GOING TO
WITH A CAMERA
Renowned Australian photojournalist Jack Picone delves into the dangerous
world of war zones and discusses the moment he finally ditched the DSLR
WorldMags.net
GOING TO WAR WITH A CAMERA
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n Siem Reap, Fuji XE2-13
Cambodian classical dancers await

their next performance for visiting
tourists. Angkor Wat Complex Siem
Reap Cambodia
WAR
How long have you been using Fuji gear?

Ive been using the X Series camera since
the very first model, the X100, came out
about three and a half years ago. Now
theres the XE2, a pretty groundbreaking
camera. Thats not Fuji talking, thats me
talking. The nice thing about working
withFuji is that I believe in this line of
cameras. Theyre quite sensational.
The XE2 isnt a compact camera or
aDSLR, its a mirrorless camera. It has

anamazing sensor, processor, very fast
autofocus. Its not too big to be carried
around everywhere. You can put it in
yourbackpack or in a jacket pocket.
Itsbasically a great little camera.
This is a new territory and a brand
newfrontier for cameras, because it
givesphotographers like me another
alternative beyond having to use DSLRs,
which I stopped using once I started

usingthe Fuji cameras.
So you dont use DSLRs at all anymore?
When I first got the X100 I thought it
was really interesting but it still had a way to
goso I hung onto my DSLRs. That was
three years ago and I sold all of my DSLRs
a year ago. It took me about two years to
finally let them go but in the end I sold
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FEATURE
JACK PICONE
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n Angola Shooting
The shooting incident in Angola

during the civil war. This man was shot
because he refused to join the MPLA
government Army
For the kind of work I do, those big

cameras arent needed anymore
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IMAGES
JACK PICONE
(prev page)
Taken by Luc Picone
STILETTOS
(left) Stilettos
found in the
aftermath of the
Tsunami that hit
Khao Lak Beach
Thailand
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them because I virtually stopped using them.

For the kind of work I do, whether its
photojournalism, editorial portraiture or
documentary work, those big cameras arent
needed anymore because the quality of the
mirrorless cameras is so great. In terms of size,
they fall somewhere between compact and
aDSLR but theyre neither. Theyre unique
unto themselves.
The idea became very attractive to me
forsimple reasons: I dont have to carry
heavycameras around anymore or have
them around my neck all day. Thats a really
practical element, but the main reason is the
psychology of using them. Ive photographed
a lot of people in fairly sensitive situations
and it sounds like a fairly simple thing to
say,but to a documentary photographer,
thisis abig thing to say: these small cameras
dont cause the affront of a DSLR. If youre in
asensitive situation using a DSLR, people will
freeze up and react; in some cases theyll get
angry. They look at the camera and it looks
big, professional, serious and intimidating.
Its a really big advantage when the roller
doors dont come down. People dont change
their body language or turn around. When
youre doing street or documentary
photography of a group of people or
aculture, to have a camera that doesnt
causethat kind of reaction is a huge
advantage. When I use the Fuji cameras,
theonly comments I get are from people
who tell me their parents used to have
acamera like that. Theyre retro on the
outside but completely space age on the
inside. Peopleask where they can buy one.
So you dont see a difference in quality?
The full frame debate is a bit of a nonDIGITAL PHOTOGRAPHY | 29
FEATURE
JACK PICONE
WorldMags.net
argument now its not about the size,

itsabout the quality of the sensor. It has
beenwell substantiated that the images
areachieving the same results of high-end
Canon and Nikon cameras. You need to
think about why you really want a DSLR.
Of course it depends on your genre of
photography. If youre a National
Geographic wildlife photographer or a
sports photographer shooting for Sports
Illustrated, then you probably do want
aflagship Canon or Nikon that does 11
frames a second. But there are lots of other
genres where you simply dont need that.
Youre getting the quality out of a much
smaller camera.
Do you think youve missed a few shots
in the past that youd have now if youd
had a smaller camera?
There have been a few times when
Iwasworking on the DSLR when Ive
beenwavedoff. It makes a huge difference
between when someone says you can take
a picture and when they say you cant.
Ithappens a lot more on the DSLR.
Do you ask permission to take peoples

photographs in the field?
No, of course not. People often ask the
question, but if youre doing reportage
orstreet photography, it tends to be
candidmoments that youre looking
forinthe unfolding events.
If you start walking up to people and
asking their permission to take those
pictures, you immediately corrupt that
unfolding moment, you prevent it
orstopit.Its a self-defeating idea.
When youre shooting documentary
work, where you end up with one group
ofpeople, youre immersed in the situation
and you already have their permission to
bethere in the first place, so you dont
haveto stop and ask them each time.
Street photography is about making
moments on the street with your camera,
soagain you wouldnt ask permission as
youd ruin the moment.
What I do respect is if someone waves
atme or comes over and asks why Im
taking the photo if they ask me not to,
Iwont take the picture. Youve got to
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respect that. I dont enjoy having pictures

inmy archives that Ive made when
someones asked me not to.
Are there situations where you regret
taking photographs?
Thats a different thing again. Yes there are
definitely times when Ive regretted it. There
are also very extreme situations where Ive
taken pictures where people have asked
menot to, and normally the reason for that
is because of the situation. The situation is
bigger than yourself, the photographer,
andthe people youre photographing. You
know altruistically everything needs to be
documented and thats happened several
times in conflict zones.
When I was covering the genocide
inRwanda, that had to be documented,
even though some people didnt want it
tobe, because youre bearing witness and
youre recording something historically as
ifyoure recording a film. In that case my
pictures were used as evidence by the UN
during the Rwanda Genocide trials. In times
like that you just try to make the right
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professional decision. But thats a very
extreme case. And in some extreme
situations there are pictures Ive regretted,
where youre in a situation and its really
hard to access whats ethically correct
andincorrect, right and wrong.
Sometimes youjust dont know and
youcan make the wrong decision. Youre
ina complicated, extreme situation, so
youtry and make the best decision you
can.Later on you realise youve made
amistake. And thats where the regret
comes in. You should always reflect on
these situations and hopefully use that
forany future situations so you can be
moreinformed and make better decisions.
Do you have any advice for aspiring
photojournalists?
I get asked for advice from young
photographers, mostly male, who see my
work and want to go out to conflict zones.
Iprobably say what most fathers would
sayto their sons, and thats, Dont do it.
They never listen to me. Most of them do
it. Its only a matter of time before
something will happen. When I was in war
zones, I was never really concerned about
dying. I was quite fatalistic about that, just
as long as it was a clean death. After a while
what becomes really scary is you realise if
you lose three limbs, or end up with third

degree burns all over your body or get
blinded, then you become a burden to
yourself and the people around you.
Ivephotographed a lot of people like that,
former combatants, civilians in wars, and
thats a revelation you have after a while.
Death in a warzone is the easy way out;
ifyoure killed, you wont even know it. The
scary part is if you dont get killed. So I tell
people not to do it.
I did it for ten years back to back Africa,
Russia, Yugoslavia, Central Asia and its
really interesting but its just a matter of
time. Its a numbers game before youre
either going to end up dead or maimed. I
almost lost my life, conservatively, six times,
in situations where I thought: this is really
the end. Its good when you escape.
Youve done quite a few trips to conflict
zones with Stephen Dupont, one of our
other subjects for this issue. What have
been some of the most intense?
Steve and I were based in London for
quite a while and covered a lot of wars
inAfrica. Sometimes wed go to the same
war because, unlike Iraq and Afghanistan,
where you can be embedded and people
know who you are, most of the wars we
covered were rebel wars and driven by
I almost lost my life, conservatively,

six times in situations where I
thought: this is really the end
IMAGES
BURMESE
ILLEGAL
IMMIGRANT
(far right) Shot

while working on
1200 Miles Life and
Death on the ThaiBurma border,
a project about
refugees that had
fled the oppressive
regime in Burma.
It felt poignant
watching this young
man en route across
the sea in search of
a better life in
Thailand
THE
LONGNECKS
(left) A Kayan
woman (colloquially
know as The
Longnecks) baths
in a stream on the
Thai-Burma border
WorldMags.net
FEATURE
JACK PICONE
WorldMags.net
n School Run, Fuji XE2
Two young girls enroute to school.

Angkor Wat Complex
n Novice Monks
Novice Monks on their

horses. Thai-Burma Border
factions. Wed go together so we could

watch each other and keep each others
backs. We were covering the Angolan civil
war when he walked into a minefield. It
wasalmost dark; we were in single file,
following government soldiers called MPLA,
and we were back towards the end of the
single column of soldiers. They didnt know
theyd walked into a minefield until one
blew up. A soldier up the front blew up.
Ithink he lived but he was quite a mess.

Helost a leg and the other leg was
completely messed up.
At the time it happened, we werent
actually in the minefield but Steve, just
completely on impulse and reflex, ran
intothe area to photograph the man.
ThenSteve and several soldiers realised
they were standing in a minefield! Iwas
onthe edge and he was in the middle
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withthe guy who was basically blown

upfrom the waist down. It was dark and
hejuststood there frozen when he realised
ifhe put his foot down he could be blown
up. I was talking to him and coaxing him
towalk out. There were a couple of soldiers
who walked out first, so I told him to follow
their footsteps. It was very dangerous and
very nerve-wracking. He walked out and
was okay but you can imagine it was very
tense. He didnt know if he was going to be
blown up.
On another patrol in Angola, off in the
distance we could hear someone being
beaten up. We ran over to see what was
going on and a bunch of officers from the
same army, the MPLA, were beating up
ayoung African guy who wasnt armed.
Itwas a ferocious beating, with lots of guns,
running and kicking. We followed them and
kept shooting pictures, then they started
shooting their guns at him and around
himto terrorise him. Bullets were going
pastourheads and our ears. Sometimes
wewereon the wrong side of them
whentheywere shooting at him, with
bullets going straight past us.
The sickening whir of a bullet going
pastyou has a distinct, horrible sound.
The saying goes that normally when you
hear that, youre close enough to die.
WorldMags.net
n Siem Reap, Fuji XE2-35
A young girl draws in the sand

at the Angkor Wat Complex
They kept shooting him and he fell back.

They filled him full of bullets from a couple
of AK47s and we photographed the whole
thing, right until the end. I dont know
whether helived or not because everything
moved on really quickly. The last time I saw
him he was in a foetal position under the
hot African midday sun. We moved on with
thetroops, but he may have lived as they
seemed to be shooting him from the waist
down. We documented the whole thing
blow by blow.
Journalistically, the story was really
significant because we found out soon
after that hiding only 100 metres away
under a eucalypt tree there were about
120guys roughly the same age as him.
Thearmy was intimidating this guy,
beatinghim up and shooting him because
he didnt want to be forcibly conscripted
into the MPLA army. They were attacking
him to make the other guys sign up.
It was an incredible story but it was
controversial. When the pictures were
published in England, then France and
laterin Germany, they were fairly graphic.
Igot a lot of flack. People were saying it
wasvoyeurism and questioned how I
couldphotograph it and not try to stop
it.Ican tell you now that when youve
gotfoursoldiers who are armed, beating
aguy up and shooting him, and theyre
sofull of adrenalin you can smell it, theres
no way you cant just tap them on the
shoulder and say, Excuse me, would you
mind not shooting this man? Its not like
that. If anything, theyll turn around and
shoot you. I couldnt stop it.
those bullets were really close to Steve

andI. We could have easily taken a bullet
tothe head.
Its a bit of a selfish survival instinct,
butthe other thing I distinctly remember
ticking around in my mind was just to walk
away from that because the soldiers were
totally fuelled up on adrenalin. These guys
often turn on the media after a while and
itdoesnt take much to make them flip.
Oneminute youre with them telling the
story, the next minute they want to shoot
you. I had that in my mind, just to walk
away from these guys, go somewhere else
and not get involved in it as they might
turnaround and arrest us, take our film,
so I walked away. I feel like it was what
I had to do and Im fine about it.
At other times, yes Ive helped. Ive put
my camera down and done things. Ive
done more than that; a couple of times
Ivegone to an NGO to report what Ive
seen. Once I was just across the border
inSudan from Kenya and I found a malariaridden area where people were dropping
like flies. I went to an NGO in Nairobi and
showed them on maps the coordinates.
They went in with emergency aid action
and saved hundreds of people. Im not
saying I saved them but I definitely gave
theinformation that meant they could
behelped. You do it case by case.
When you go into those areas as a
photographer, you have a role to play.
Ithink an NGO worker has a role to play;
adoctor, a nurse has a role; everyone has
arole. Photographers and journalists dont
make great medics because they dont have
the skills. In many ways you can interfere
and cause more trouble or harm.
Its always case-by-case for me but I have
helped people in places. If I can help quickly
in a practical way instead of taking a picture,
of course, Ill put down the camera and help
someone. Or sometimes youll just do both.
You shoot the picture and you help them.
Its a very grey area. Theres no clear answer.
But I do really think that everyone has a role
to play and thats not really our role. Thats
not an easy get-out clause, its just being
professional.
Your role is to go there. Not to be a
voyeur or take someones picture; its to
gothere, make someones picture and
givesomeone a voice who doesnt have
one. To make someone visible to a larger
audience somewhere else and explain that
story to people elsewhere, so that its out in
society and the rest of the world for debate.
If youre going to go there each time and
save the world and help everyone, youre
not going to achieve what youve set out
toachieve in the first place.
To see more of Jack Picones work,
check out jackpicone.com
n Dhow Sailing
I started photographing the Dhow

boats off Southern Somalia and Kenya
as a kind of therapy and restoration
Did you ever help? Or are you just there

to observe and capture?
I would and I have, but not in that situation.
Thats the reason I dont know if he survived
or not. If he did it would have been a miracle.
He certainly had a lot of bullets, and there
were no hospitals or medics out there.
Ididnt help then as, from memory, I was
really happy to be alive myself. A lot of
WorldMags.net
FEATURE
CHRIS OATEN
WorldMags.net
LOOKING
Chris Oaten shares his fascination with

architecture and the road that led him to
spend so much time gazing skyward.
IMAGES
TWIN TOWERS
(main) Shot with a Canon

5DMkIII; 16-35mm f/2.8
lens; 4sec; f/14; ISO 50
LOOMINOSITY
(inset) Canon 5DMkIII;

16-35mm f/2.8 lens;
4sec; f/14; ISO 50
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LOOKING UP
UP
I
ts a curse. Not being able to walk

past a building without looking
up at how the light is striking it,
hopefully differently from the last
time you looked and perhaps with a grace
that would reveal the unique vision the
architect had for it; an ordinary set of
rectangles transformed into a symphony
of geometric expression. Its a curse, I tell
you. And an awful strain on the neck.
Im not alone. Thousands of photographers
have this same fascination with buildings
and I wonder sometimes where my own
structure fetish comes from. Perhaps its
the respect I have for the engineering that
goes into a large construction.
It may well be, and is more likely
the case, that my love of geometry is
hereditary, seeing how my father was an
engineering draftsman. What he didnt
know about shapes and curves and
logarithms and such was yet to be written.
High school years brought a flirtation
with the science of shapes that taught me
enough to know my maths skills werent
in the same league as my fathers. My best
talent at the time lay with the arrangement
of words, not lines. And so after a long
stint in hospitality, where the need to earn
some fast money came first, I spent more
than 20 years in media, more often than
not as a writer or sub-editor, occasionally
as a photographer, sometimes as
photojournalist. If you can remember
GEO magazine, that was the high point
of my media career. Chris Oaten, GEOs
South Australian correspondent. That
was a good gig.
WorldMags.net
FEATURE
CHRIS OATEN
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The love of architecture has stayed

with me throughout all that time but it
wasnt until recently I really started to
throw myself at it. There were two
catalysts for this affliction.
The first was having to come up
with a major work project to complete
my Advanced Diploma of Commercial
Photography. Yes, its true. Im one of those
annoying mature age students sitting in
the front row of a TAFE lecture theatre,
struck by the idea that learning is not
something you do only when youre
young. Except, of course, as a middle-aged
git Im better at it than everybody else.
Ive learned how to listen, you see.
However, unlike my cohort with their
springy gait and naive outlook, each of
whom needed to build a folio to help
launch a career, I already had a career.
The low, directional light, damp

air and pollution coalesce into a
celestial soft box to die for
I didnt need to impress anyone. So instead
of doing what I thought I had to do to get
noticed, the luxury of choosing a topic for
my major that I instead wanted to do was
impossible to resist, though I coupled it
with a time-lapse project, which as the
submission deadline approaches is
dangerously far from completion.
Finding inspiration
Thanks to Facebook, Id been introduced
earlier in 2013 to the breathtaking work of
Still. very still

You cant shoot a building without a tripod. Well, okay, maybe
you can. But accept that a solid tripod will be your constant
partner. A heavy tripod can literally be a drag, so I use a Manfrotto
290, a light tripod, but give it some ballast by tethering it to my
camera case using an octopus strap.
Joel Tjintjelaar. Im guessing that readers

funnelled into this yarn by my images
probably know of the Dutch photographer
whose work defines the art of simplicity.
For those not familiar with his imagery, a
Google image search will soon sort that out.
For those of you who expect writers
to actually write stuff, let me tell you that
Tjintjelaar is one of the leading lights
in the fine art space with work typified by
long exposure captures finished in black
and white. Making his work all the more
spectacular are the extraordinary lengths
to which he goes to bring his images to
life, labouring fastidiously over planar and
detail selections whose tonal values are
tweaked with some very special secret
sauce. Or not so secret, as it turns out.
Like many accomplished photographers,
he sells his skills in the form of video
tutorials. And theres nothing wrong with
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IMAGES
BEADED DETAIL
(below) Shot with

a Canon 5DMkIII;
TS-E24mm f/3.5L
lens; 1/4sec; f/16;
ISO 100
VANISHING
POINT
(right) Shot
with a Canon
5DMkIII; 16-35mm
f/2.8 lens; 1/60sec;
f/9; ISO 100
SWIRLING
TEXTURE
(below right)
Shot with a Canon
5DMkIII; TS-E24mm
f/3.5L lens; 25sec;
f/22; ISO 50
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that. Good luck to him. So would I, if I could.

If youre familiar with Tjintjelaars work,
youll know that his architectural imagery
and mine share only one thing in common:
the absence of colour. Theres a good
reason for this. While his images provided
the inspiration to once again turn my eye
to built structures, it became very clear
very quickly that his work is so distinctive
that even partial attempts at adopting his
methods will result in copying his work,
intentionally or otherwise.
Indeed, at the AIPP National Print Awards,
I spotted an image carrying a silver award
that was textbook Tjintjelaar. I knew when
I saw that image hanging there that my
decision to not slavishly follow the Dutch
masters method and style was vindicated.
That said, the $100 I spent on Tjintjelaars
video tutorial set wasnt entirely wasted.
I picked up a few pointers, not least of
which is the post-processing technique
of iterative selective gradient masking.
Easier to do than it sounds and an
excellent way to bring depth to an image.
In any case, Tjintjelaars tutorials
underscored the importance of seeing
and appreciating tonal relationships
because they define the presence of built
structures. And completely changing them,
if that suits your vision for the structure.
It is, after all, your image, even if it is
somebody elses building.
So thats where Im at right now. Trying
very hard to generate a style of my own

while borrowing some technique from
Tjintjelaar, yet also avoiding slavish
imitation, which is a lot harder than you
might think. Having produced a couple
of shots in his style, itd be an easy thing
to keep doing it. But, at the risk of
LOOKING UP
offending anyone who does copy his

work, doing so just cant sit well with
my definition of integrity.
Going your own way

This journey to a place where the perfect
black and white image lives in harmony
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FEATURE
CHRIS OATEN
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IMAGES
LOBBY SHOT
(right) Shot with

a Canon 5DMkIII;
TS-E24mm f/3.5L
lens; 3.2sec; f/14;
ISO 100
LEADING LINES
(below) Shot
with a Canon
5DMkIII; 16-35mm
f/5.6; ISO 400
BEST-LIT
BUILDING
(far right, top)

Shot with a Canon
5DMkIII; 16-35mm
f/2.8 lens; 15sec;
f/14; ISO 100
GOING DOWN
(far right, below)

Shot with a Canon
5DMkIII; 16-35mm
f/5.6; ISO 400
Killing the colour

Any image manipulation software can do black and white
conversions. However, Silver Efex Pro is great because it has a
tool that reveals tonal range in zones, so you can check you
really have black, white and everything in between.
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with my aspirations was helped greatly

by my trip to Malaysia earlier in 2013. It
provided the opportunity to photograph
the Petronas Towers, which Im pretty sure
is the best-lit building on the planet. What
makes this structure unusual apart from
the obvious is that by virtue of the
gigawatts of lighting they throw at it every
night (but not after midnight on weekdays,
folks) its one of the few structures that
looks great against a jet-black sky.
As architectural and certainly real estate
photographers will confirm, buildings often
look their best against a sky that still has
some colour in it. That is, a sky from which
the sun has very recently departed. Enough
light to model the structure without
overwhelming any exterior or interior
lighting that gives the building some
sparkle. The Petronas, however, is all about
being cloaked in black. Or it is for me.
This is not to say it doesnt look good at
dawn or dusk or at some other time through
the day, though I seriously doubt the latter,
seeing how the air is so dense with pollution
in Kuala Lumpur. That said, I squeezed off a
few nice dusk shots from the Sky Bar, which
is conveniently sited near the towers.
Also, Malaysia has some seriously
beautiful light for about half an hour after
sunrise, when the low, directional light,
damp air and pollution coalesce into a
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celestial soft box to die for. Id love to see
the Petronas in that light.
My shots of the Petronas almost didnt
happen, though. With just one overnight
stay scheduled for KL, there was a window
of only a few hours for daylight shots and
as many night shots as could be managed
before the floodlights are extinguished.
The daylight shots didnt happen at all.
KL turned on a downpour that put an end
to that idea, though what happened next
was better anyway because I turned my
attention to capturing the Aloft Hotels
interiors, which follow a pretty funky design
aesthetic. This stopgap was not only a lot of
fun and a cure for frustration but reminded
me of some good advice generously given
some years back by an architect when I was
doing a newspaper story on, er architects.
Once Id stopped rolling tape for the
interview (my shorthand can be read only
by ancient Egyptians, you see) and taken
some photos, he asked me if I liked shooting
architecture. Well, yes, I responded.
You know what? he said, pausing
for effect before confessing: Most
photographers forget to look up.
He went on to explain that photographers
are usually so preoccupied with capturing
perfectly straight verticals that they forget
to look at what the architect did with
theceiling or the other spaces in which
function doesnt take precedent. But the
LOOKING UP
n Best-lit building
Petronas Towers: One of the

few structures that looks great
against a jet-black sky.
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FEATURE
IMAGES
POINT,
COUNTERPOINT
(below) Shot with a

Canon 5DMkIII; 70200mm f/2.8 lens;
1/125sec; f/11; ISO 50
PETRONAS
PERSPECTIVE
(far right, top)

Shot with a Canon
5DMkIII; 16-35mm
f/2.8 lens; 13sec;
f/16; ISO 100
ESCALATING
(far right. mid)

Shot with a Canon
5DMkIII; TS-E24mm
f/3.5L lens; 4sec;
f/11; ISO 50
WINDOW ON
THE WORLD
(far right, bottom)

Shot with a Canon
5DMkIII; 70-200mm
f/2.8 lens; 1/4sec;
f/32; ISO 50
CHRIS OATEN
WorldMags.net
Bracket, bracket, bracket

You can use bracketed shots for HDR manipulation if you like,
or use Photoshop masks to combine separate sky and building
shots. Or perhaps better, land your exposure within your sensors
dynamic range. But if you didnt bracket, none of that can happen.
ceiling, he said, especially of the lobby in
a large commercial building, can be a work
of art, and its surprising how frequently
even the architects client doesnt
appreciate whats above their head.
Thats some fine advice.
A better perspective
For me, enjoying the view from beneath
extends to the faade. Capturing the
exaggerated perspective shot continues to
be my favourite approach to architecture.
For some time, however, I wrestled with
the notion that this shooting method was
something only student photographers did
to imbibe their work with some measure
ofartistic integrity. Being a student meant
Iwas all the more paranoid about this.
As 2013 unfolded I accepted this opinion
as disrespectful, mainly because of the
mastery of Tjintjelaars work, among
others. More so because when I really
threw myself into it, I discovered that doing
this kind of shot well is really not easy.
To understand why, you have to look
past the technical elements of lens

distortion, exposure, dynamic range
and lighting and all of that. Its all
important stuff, for sure, but Ive found
the most difficult thing to accomplish
from that low angle is to not make
the building look grotesque.
How does this happen? Because
a building, especially a tower, has
an intricate geometry to it. It has
proportions its architect fretted over
at length. Consequently, theres a fine
line between respecting the grandeur
of a tall structure and turning it into a
freak of architecture. That fine line may
be only a few millimetres of focal length
or a few metres further back from the
building. Its a delicate balancing act.
Im still working at getting it right.

Thing is, its easy to know when youve
got it wrong. Take the Petronas Towers,
for instance. There are very few twin
towers in the world, so its not like you
can get much practice at shooting them
if you dont happen to live where some
tall twins are a part of the skyline.
But heres the thing. If you go for the
standard vertical shot with a tilt-shift on
a DSLR, you will want to be absolutely sure
your film plane is as perfectly squared and
centred to the subject plane as possible.
If your camera is swung just a little offcentre, one of the towers will look just
a little bit larger than its twin. A little bit
fatter. A little bit taller. A little bit less
vertical. The result? Grotesquery. Theyre
identical; they should look that way.
By the way, about the best spot for
this shot without getting permits for
vantage points in other buildings is
the bridge over the lake on the garden
side of the towers. You can just fit the
twins in with a 24mm TS but a 17mm
would allow some elbow room for a crop,
if needed, and it almost certainly will be
Exaggerating the perspective

will also exaggerate any
carelessness on your part
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LOOKING UP
Study the light

When it comes to shooting a built structure, theres one thing
you can be certain of: there will always be better light. Prove it to
yourself by picking a building you pass as a matter of course every
day and making an effort to see how it looks in different light.
when you correct thegeometry in post.

And you will.
Now, you might think the low angle
and exaggerated perspective would
hide a multitude of sins by overwhelming
the viewer with some crazy angles. And
youd be wrong. Its no less important
to carefully frame your shot when shooting
from underneath. Perhaps more so.
Exaggerating the perspective will
also exaggerate any carelessness on
your part. Ive learned this the hard way.
So by all means go to it with gusto, as
I have. Its very satisfying to hit the mark.
Just dont forget to hunt down a skilled
masseur. Youre gonna need one for that
crick in your neck.
For more of Chris Oatens work, check
out insightvisuals.com.au
WorldMags.net
FEATURE
JAN LATTA
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TRUE TO
HERSELF
After coming face to face with endangered gorillas in Rwanda, Sydneys Jan Latta knew
she was in the wrong profession. Now, 20 years on, shes a renowned wildlife photographer,
author of the successful True to Life books and still looking for that next big adventure
You were working as a creative director

in Hong Kong. Now, 20 years later, youre
a successful photographer with a dozen
books to your name. How did you make
that change?
I was looking at a photo essay by [wildlife
activist and photographer] Karl Ammann
that I was designing for Regent magazine
and I remember being absolutely
mesmerised by his photographs. With that
as an excuse, I went to Africa for the first
time this was back in 1994 and I fell in
love with it. Karl organised for me to go up
and see the mountain gorillas in Rwanda.
Now, that was as the war was starting,
which made it very dangerous, but I
decided that this might be my only
opportunity to go and do that. And when

I came face to face with a mountain gorilla,
that moment changed my life.
I was there with a friend from Hong Kong,
a guide, and perhaps four other people.
They only allowed very small groups to trek
up the mountain at that time. I was talking
to the guide as I was struggling back down
the mountain and I said, How many of
these mountain gorillas are left in the
world? And he said, About 600. I thought
that was so sad. I said to my friend at that
moment, Im going to start making books
for children on endangered animals.
And then I said to Karl, who was a very
famous wildlife photographer even then
and who was living in Africa, How do I go
about this? And he said simply to buy a

good camera he suggested a Nikon at the
time, which was my first camera and he
said, Do your research about every single
animal you might see in the wild, and come
back to Africa and learn.
So, technically, Ive never had a
photographic lesson. I just went back
and made lots of mistakes. But I learned.
And when I do talks at schools or at
festivals now, I say to the kids, Homework
is so important. I have to learn everything
about that animal to keep myself safe;
I need to know everything about that
animal so I can read his body movements,
anticipate his next action, and get a
great photograph.
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IMAGE
CHEETAH POSE
Shot with a Nikon

D90; 70-300mm lens;
1/800sec; f/5.6; ISO 400
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FEATURE
JAN LATTA
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Im much happier covered

in dirt on the back of a jeep,
looking at lions!
That first camera was a Nikon film SLR?
Yes, while I was there in Africa I discovered
the joys of Velvia. And when youre out in
the wild, especially when I was up in the
mountains of China with the pandas in
Wolong, taking all the photographs for my
book Ping Ping the Panda was on Velvia. It
was raining, and if it wasnt raining it was
misty. The guide that I had to hire to allow
me to go into the region held an umbrella
over me the entire time. But the Velvia film
was just so beautiful, despite all that
bringing out all the rich greens, and the
depths of the blacks. It was wonderful.
When I first moved to digital after a
disaster in Borneo with the orangutans,
I was a bit disappointed with the results.
Just for a while, until I got used to using
digital properly. And I believe although
I havent done this myself yet that
there is a Velvia type of filter you can
apply digitally nowadays. I havent had
time to look into that yet because Ive been
lucky, shooting in morning and evening
light that lovely golden light that only
Africa produces.
What happened in Borneo that was so

disastrous you switched to digital?
Oh, it was quite a few years ago now. Id been
trying to make bookings to enter Borneo to
shoot the orangutans, and the Indonesian
government said, The section youre trying
to enter is too dangerous. We cant guarantee
your safety and we cant guarantee your
flights. So I just went to the Malay part, and I
had the very great privilege of being allowed
into an area on walkways and I was so
pleased with myself. I got all the action I
wanted to tell the orangutan story. I flew back
to Sydney, I went to a lab when it opened at
7am, dumped all my film, went back home
to have a shower and the phone rang. The
lab said, Im sorry to tell you, but you have
not one single frame on all these rolls of film.
I couldnt talk to anyone for a whole
week. But I bought my digital camera, and a
few years went by, and because Id had that
experience with the orangutans and because
Indonesia was safe again, I was able to visit
again and did the trip very differently. I did
far more research, had a guide with a boat,
and just the two of us went into the jungle
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TRUE TO HERSELF
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IMAGES
GERENUK PAIR
ON HIND LEGS
(top left) Shot with

a Canon PowerShot
G9; 7.4-44.4mm lens;
1/400sec; f/4.8; ISO 400
MENACING
BUFFALO
(left) Shot with a

Nikon D90; 18-200mm
lens; 1/500sec; f/5.6;
ISO 200
ON THE HUNT
(right) Shot with a

Nikon D90; 70-300mm
lens; 1/1000sec; f/5.6;
ISO 800
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FEATURE
JAN LATTA
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TRUE TO HERSELF
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I wanted to be the voice of the

animals, talking to children
about their life and survival
each day it was fabulous. I never did find
out exactly what went wrong with that
film, but it was totally my fault; I should
have had it in a lead bag.
How much time passed before your dream
of publishing books became a reality?
Well, in Hong Kong, where I was living at
the time, I had to work seven days a week
its a very fascinating city to live in, but
you have to work very hard to survive
but even so, I believe it was within a year.
Since I was already working in publishing,
it was relatively easy for me to get the
printing done, so I printed a very small
quantity and flew with them to Australia. I
went around to all the publishers and said,
I want to do a series of books for children
on endangered animals; heres the idea for
the format, and the response was, Well,
were interested, but we want to see the
series. Until you have that, good luck.
But one man Gordon Jackson of Koala
Books actually said yes. He said, If you
do a series, we will be your distributor in
Australia. So I went back to Africa, did a
book about rhinos, then back to Australia
for a book on koalas, and then the first
tiger book, and those three became the
beginning of the True to Life series.
Then suddenly, with the handover of
Hong Kong from the UK to China, I lost the
publishing company it all came tumbling
down like a pack of cards. I had two English
partners; one moved back to England and
one didnt want to come with me to
Australia, so I decided to relocate back to
Sydney on my own. That was when I was
able to concentrate solely on the childrens
books. I went back to Africa and everything

has been wonderful from that moment on.
That old life was glamorous in its way, but
I dont miss it. Im much happier covered in
dirt on the back of a jeep, looking at lions!
Had you already dabbled in photography
prior to your life-changing decision to
create the True to Life books?
I was just a happy snapper. Like all Australians,
I travelled quite a bit when I was young
and took some photos. But Id been around
some of the worlds great photographers
through my work in publishing Regent
magazine, so there was always that
involvement with photographers and
photography. But this was different.
My purpose in doing the True to Life
series was to go off into the world and tell
the story of the animals through images.
I wanted to be the voice of the animals,
talking to children about their life and their
survival. So, after researching each animal
and talking to scientists and working out
where to go, I would write a script a
wishlist of photographs I was hoping to
capture in the wild that would best tell
the animals story. I mean, there are many
better photographers than me, but when
I went back to Borneo that second time,
when I had my wishlist, the first experience,
as bad as it was, ended up being good
because I had much better knowledge
of the behaviour of the orangutans.
For instance, when an orangutan is making
a lip-smacking noise, you might think,
Oh, how nice, its kissing me. But no,
that means its angry. You have to learn
all the sounds and actions and so forth.
So my aim is only to tell the animals story,

to put that in a book so that children can
understand and be excited. With all my talks
that I do especially in China once a year
I try to make children be aware that some
of these animals may not be around when
they become adults. Thats my challenge.
Theres a real sense of humour behind
your images, especially in the playfulness
of the compositions. Did you shoot them
that way intentionally because you had an
audience of children in mind? Or is it just
your whimsical sensibility coming through?
Yes it is intentional. I try, with the childrens
books especially, to always get a very
memorable or even funny photograph
because I dont want my books to be boring!
A lot of people think non-fiction books are
boring; I want mine to be enthralling. I want
kids to laugh at the orangutan trying to
stuff 15 bananas in her mouth. Those
things are important so that the children
can laugh, be entertained, and remember.
Besides raising awareness, what other
ways are you involved in helping
endangered animals?
With every single performance or school
presentation, Im always telling the children
its so wrong to kill a rhino to grind up its
horn for medicine; its so wrong to kill a tiger
and use his whiskers and bones for Chinese
medicine, and that message I think is very
important. Then at the end theres always
question time, and usually theres a child
or a teacher who says, What can we do to
help? And my answer is the David Sheldrick
Wildlife Trust (sheldrickwildlifetrust.org).
Ive been to his elephant sanctuary in
Kenya five times now and it is the best
charity Ive ever seen. All the little baby
elephants that have watched their mothers
being slaughtered, if theyre found
anywhere in Africa theyre rescued, put on a
plane and taken to the Sheldrick orphanage
where Daphne [Dame Daphne Sheldrick,
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IMAGES
ELEPHANT HERD
(far left, top)

Shot with a Nikon
D90; 70-300mm
lens; 1/250sec;
f/10; ISO 200
ORPHAN
ORANGUTAN
(far left, bottom)

Shot with a Nikon
D90; 70-300mm
lens; 1/125sec;
f/7.1; ISO 400
SLEEPY PRIDE
(left) Shot with

a Canon PowerShot
G9; 7.4-44.4mm
lens; 1/160sec;
f/4; ISO 80
AFFECTIONATE
LIONS
(this page, top left)

Shot with a Nikon
D90; 70-300mm
lens; 1/125sec;
f/4.2; ISO 200
GIRAFFES
KICK FIGHTING
(this page, top right)
Shot with a Nikon
D90; 70-300mm
lens; 1/400sec;
f/5.6; ISO 200
FEATURE
JAN LATTA
WorldMags.net
Kenyan author and conservationist] and

her daughter Angela live. Every little baby
has a keeper, and that keeper stays with
the elephant all day and night, even sleeps
in the stable with the traumatised baby. So
I always encourage schools I visit to adopt
and sponsor an elephant, and so many
have. I was talking at Wenona School
in North Sydney a few months ago and
I met with the librarian recently and she
told me theyd adopted four elephants.
I just thought that was wonderful.
Children love this kind of project, because
what they do besides sending you a
certificate and a nice watercolour drawing
by Angela is they give you a monthly
report on the progress of your little baby.
One of my elephants, the first one I chose,
was Yatta, basically my own surname but
with a Y. Shes now had a little baby called
Yattu and shes happily back in the wild with
a herd. Thats the main aim; to nurture the
babies, who to be honest often die because
theyre so traumatised, until theyre placed
in a kind of middle station before being
taken back into the wild. And the most
amazing thing happens when they reach
that middle stage. Its a place they have to

be trucked to, and all the wild elephants
come and say hello to them. Its just
extraordinary. So its safe to say that the
love of my love after cheetahs would
have to be elephants.
Speaking of which, who are the two
cheetahs that make an appearance on
the cover of your book, The Diary of a
Wildlife Photographer?
I was with Karl Ammann, back while I was
still shooting on film, and Id stopped to
change rolls. When I looked up, I could see
a cheetah coming towards me. I looked
back at Karl and he just indicated to me to
get down. Instinctively I knew I had to be
very calm. The cheetah just flopped in the
grass nearby.
When I went back to Africa the next year,
I said to Karl, Well, Cheetahs are territorial,
so if we walk around in the same area,
might we see them again? So off we went.
We heard the purring before we even
saw them. I gave my camera to Karl, knelt
down, and that one cheetah just came up
to me again. Then the second cheetah
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came up to me, and Karl captured that

photo that was the second click of the
shutter, where the second cheetah had
turned around at the unfamiliar sound.
That was just the magic moment of my life.
I spent quite some time taking
photographs of those two. You can see
Im holding the throat of one of them.
Thats because he was purring so loudly!
And I was just trying to feel that vibration
of the purring. I found out later that one
of those cheetahs had been brought into
the area as an orphan and had been
handled and looked after by humans
before being released into the wild. So that
and the fact that I was not frightened
made all the difference. Any animal will
pick up on fear, so I just kept talking to
the cheetah as though it was a lover!
That sort of thing has happened quite
a few times to me. Ill just be in the jeep
with my guide I always travel alone and
a cheetah will use the hood of the jeep to
climb up on and get some warmth or use
as a vantage point to look out over the
plains. Then theyll just turn and look at
you through the window.
TRUE TO HERSELF
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IMAGES
This elephant was running

towards us, and Letaloi says,
Dont worry. Its just Conrad
that Conrad was just cranky. But shortly
after that we saw an even bigger elephant
on the horizon and I said, Letaloi, do you
know this elephant? He said, No. So we
drove in the opposite direction. I didnt think
my heart could take another encounter.
Were there ever any situations in which

you felt things could go badly?
Oh, yes. Being charged by a bull elephant
in musth is pretty terrifying. Thats when
theyre very unpredictable and dangerous,
running around with mating on their
minds. But their charges are usually mock
charges. My guide, Letaloi, whos been with
me for so many books and so many trips,
I mean he is huge. I felt he could wrestle
a buffalo and win. He was a wonderful
guide, and his knowledge of animals
especially elephants was vital. He was
one of Cynthia Moss helpers, the woman
who researched all the elephants in Kenyas
Amboseli area for about 30 years.
So when this huge, terrifying six-tonne
elephant charged me the first time, Letaloi
drove our jeep away and then just
stopped. I kept taking photographs the
horizon was never straight, but I kept on
shooting and when he stopped I said,
What are you doing?! This huge elephant
was still flapping and screaming and
running towards us, and Letaloi says,
Dont worry. Its just Conrad.
He knew that it was a mock charge and
So it sounds like your advice for

beginners would be to know the
dangers youre likely to encounter.
Absolutely. Apart from making sure you
have a very good guide, doing your
research behind all the animals youre
going to see is so important. I mean, the
first time a big lion started thumping his
way towards our open jeep is something
Ill always remember. I said, Ah, theres
a lion coming towards us, and the guide
said, Its okay, its okay. And the lion
literally came right up to the jeep, a huge
male, looked at me and then kept
walking past. I was rigid with fear, and
I said, Dont the lions ever jump into an
open jeep? And the guide told me that
they dont; they identify the smell of the
jeep as a single unit. They dont see the
individual people as separate objects
unless you become a moving silhouette
by climbing onto the roof or hanging out
the side. Then that might catch the lions
eye and something might happen but
again, thats all in the homework.
You also need to know the best times of
year. For instance, if you go to Africa after
the rains when the grasses are high, youre
not going to see anything but an animals
tail. So there really is a lot to learn and
discover before you even get on a plane.
AFRICAN SUNSET
(far left) Shot with
a Canon PowerShot
G9; 7.4-44.4mm
lens; 1/320sec;
f/4; ISO 80
Now that youve been at this for 20 years,

whats the feeling when you look back
over the experience?
Ive been so lucky. Its just the most fabulous
thing to be doing. When Im talking to children
at schools and a mother will email me and
say, Ive never seen my son so excited, he
wants to do what you do, thats a huge thrill.
ENDANGERED
TIGER, MADYA
NATIONAL PARK
(above) Shot
with a Nikon D90;
70-300mm lens;
1/80sec; f/5.6; ISO
1600
Where to next another book?

Im trying to solve a problem in Costa
Rica.I want to do a book about the sloths
there. I saw a sloth sanctuary on TV and
got over-excited, contacted them, and
theysent an email back saying, Discovery
Channel and Animal Planet have the rights
to all photography of our sloths, so if you
come and take a photograph, you are
not permitted to make a book from the
photographs you produce. I found that
extraordinary. So I had a full page in the
Hong Kongs South China Morning Post and
the journalist asked me that what is the
next book and I just did a little synopsis
of why I cant do the sloths, and the emails
have started to come in. Im Costa Rican
and Ive never heard anything so terrible,
things like that. Ive just been copying all
of these responses and sending them
tothe sanctuary, so Im anxious now for
Hong Kong to wake up so I can find out
what the answer is. Im very tenacious;
Imnot going to take no for an answer.
To see more of Jans images and to find
out more about her books and other
conservationist projects, head to
truetolifebooks.com.au
WorldMags.net
FEATURE
DOC ROSS
IMAGE
STORM CLOUDS
Shot with a Sigma

DP2 Merrill; 1/640sec;
f/5.6; ISO 100; focal
length 30mm
WorldMags.net
THE
MAN
IN THE
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THE MAN IN THE MOMENT
WorldMags.net
MOMENT
Doc Ross, a quiet man from New Zealands South Island, was commissioned to produce a work that
expressed the emotion of those cataclysmic 37 seconds that rocked Christchurch on February 22,
2011. Ewen Bell spoke with him about the 37 project, and on what makes great photography.
n the days and weeks after
the Christchurch earthquake,
there were few photographers
documenting the impact.
There were lots of people with cameras,
but few photographers. Access to the
most affected parts of the city was
restricted, making skilled documentary
in the immediate aftermath largely absent.
Shooting the moments as they unfold
is a skill that takes a lifetime to master.
Doc Ross made Christchurch his home
and had been documenting the life of

his city for over a decade. In September
2010 he found himself at the epicentre
of a new story, of a city emerging from
the devastation and the lives forever
changed by it. As an artist of the camera,
he set about capturing images that told
the human detail of the earthquake,
not merely the physical dimensions.
There are two ways to work with
a concept, says Doc. You either contrive
every aspect of the image and create it
WorldMags.net
to suit, or you define the rules and

follow them through to see where it
leads. Following a thread leads you to
places you wouldnt expect, and cant
contrive. Theres something more honest
about it as an artist.
The first line of documentary followed
by Doc was conventional but important.
Having gained access to affected areas,
he focused on the normality alongside
devastation. Living with the wreckage.
Unbuilding and rebuilding. The second
FEATURE
DOC ROSS
WorldMags.net
IMAGES
TWISTED METAL
(right) Shot with

a Sigma DP2 Merrill;
1/1000sec; f/5.6;
ISO 100; focal length
30mm
EMPTY SHELL
(below) Shot with

1/800sec; f/8; ISO
100; focal length
30mm
DOC ROSS
Docs work is held in private and public collections and libraries throughout the
world, including the Museum of Contemporary Art, Sydney Australia, Christchurch
Art Gallery. He has exhibited in many countries around the world, including
London, Melbourne, Sydney, Sothebys New York and regularly in New Zealand.
His gallery is based in Christchurch and he continues to work on documenting the
city in transition. gallery464.co.nz
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avenue he took was to get as close as

possible to the emotion of the event itself,
to take a journey into the 37 seconds during
which the quake shook Christchurch.
I was driven to find the concept behind
this work, to try to find something different.
I was worried wed end up with just
crack-art and earthquake porn. An artist
commissioned me to look at the event
from a different perspective, a different
concept. I found a scientist who gave me
information about the earthquake, told
me that it lasted 37 seconds. I decided
to work backwards from there.
His technique was derived from the
facts of the moment. Using multiple
exposures, he collected 37 seconds worth
of each subject, and shot 37 people in all.
There were no test runs, no repeats.
Earthquakes remove all control in
your world for that 37 seconds. You cant
determine when it will happen. I gave
away control of the exposure in the same
way; I set up a chair by a window and
let the weather and light of the moment
define the nature of the portrait. Its just
another way to bring the experience of
the event itself into the photographs.
Complimenting each image is a brief
account of that persons experience,
expressed in keeping with the theme
in just 37 words. Doc has published several
books on the earthquake but his collection
called 37 stands apart from the rest of his
WorldMags.net
n Rudolf, Dee, Barry and Sophie
An example of one of the 37-word testimonials comes

from Rudolf, top left: We were in the car, it felt like
it had four different size wheels. Buildings collapsed
in front and behind us, Robyn helped an Indian
woman up and asked if she would like a cup tea.
WorldMags.net
FEATURE
DOC ROSS
WorldMags.net
37 is a deeply intimate body of

work in response to a deeply
profound event
work. By setting the photographic rules and seeing
where they lead, he has created a unique set of
images and a deeply personal collection.
Some people couldnt get out the door fast
enough, you can see it in the exposures. Its as
though the earth is still shaking, the movement
in their faces. Others were frozen solid, locked
in position for the 37 seconds in a way I didnt
know was possible. We all respond differently to
experiences, and recalling that 37 seconds so soon
after the event was an intimate moment to witness.
The series was photographed on 4x5 film, using
several sheets for each subject and varying exposures
to total the 37 seconds. Each sheet was scanned,
then merged together to form a single image.
There was only ever going to be one final
photograph and the subjects were accepting of
that. Of all the women who came in, not one of
them asked for a mirror. They accepted the outcome
without question. Not once did someone check
their hair or make-up.
For much of his life, Doc Ross has worked on
landscape images and he has never lost the passion
for film. Its a medium he has respect for, attributing
the analogue response to light with a suggestion of
integrity. Whether shooting digital or film, Doc
follows a philosophical path that puts the moment
at the centre of his art. In the world of Doc Ross,
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IN THE BAG
My camera of choice for film is the Graflex

4x5, as used on the 37 portraits, and Ive
been shooting with the Sigma DP2 Merrill
for over a year. Its a simple camera to use
with superb image quality, especially in
good light and low ISO. The detail rendered
by it enables very large prints, which suits
me. It never fails to amaze me how much
quality can come from such a small camera.
there is a difference between creating an

image and capturing a moment.
The art of documentary is not lost, its
just obscured a little by the volume of
images flooding our senses. Waiting for the
right moment is a recurring theme in Docs
life, the idea of being patient in seeking
out moments of truth that reveal meaning
in our lives. This is where depth comes
from in an image; not from how many
layers you can build into a shot but the
expression that lies behind it.
Good photography continues to give
you something more. If its really obvious
then you hang it on a wall and within
a week you stop seeing it. There isnt
anything more to see. What is the reason
youre doing it, the narrative behind what
youre photographing? You need to have
Recently I purchased a Fuji X-E2,

which I also really like. Its important to
find a camera that suits your working
style and produces images that match
your desired aesthetic. The files from
the X-E2 developed in Photo Ninja are
also astounding. At the end of the day
its image quality thats important to me,
not tricks and touch screens. The lens
on the sigma is one of the best Ive ever
used and the new Fuji digital lenses live
up to their predecessors reputation.
an understanding of the story.

Landscapes and cityscapes have been
a feature of Docs work in recent decades,
always framed by an appreciation of fine
art. As his photography matured, so did
his ability to capture people and reveal
their stories. 37 represents a high-water
mark for this transition, a deeply intimate
body of work in response to a deeply
profound event in the history of a nation.
People like looking at people. You
cant do that in most social situations, its
inappropriate. In portrait photos you can
keep looking at the subject, look closely and
study it and get to know the person in the
portrait. We are naturally curious people.
When it comes to preparing images
and creating the final prints, Doc is DIY.
He makes his own prints on a 24 Epson
Stylus Pro 7800, he processes his own

film and does his own scanning. If youre
outsourcing the work to someone elses
aesthetics then youre compromising,
so Doc likes to do everything himself.
If you have to pay someone to do the
prints, youre going to stop your creative
process way before you get to their
optimum evolution. Its part of developing
the visualisation of the concept. You also
print things you wouldnt normally print.
Over time you end up with a collection,
an archive of otherwise forgotten images.
Inside Docs gallery is an archive of
Christchurch, before and after that fateful
moment. His work echoes the fortunes
and transition of a city, with an intimate
perspective on the people who make it
what it is. Through his images, those 37
seconds are not forgotten, nor is the
process of rebuilding Christchurch into
something greater than what it was.
IMAGES
DEMOLITION
(far left, top) Shot

with a Sigma DP2
Merrill; 1/320sec;
f/5.6; ISO 100; focal
length 30mm
FRONT ROW
SEATS
(far left, mid) Shot

with a Sigma DP2
Merrill; 1/100sec;
f/5; ISO 100; focal
length 30mm
ONLOOKERS
(far left, bottom)

Shot with a Sigma
DP2 Merrill; 1/80sec;
f/8; ISO 100; focal
length 30mm
LONELY
REMINDERS
(above) Shot with

1/160sec; f/8; ISO
100; focal length
30mm
HARD AT WORK
WorldMags.net
(left) Shot with

a Fuji FinePix X100;
1/950sec; f/8; ISO
200; focal length
23mm
FEATURE
WorldMags.net
EWEN BELL
GREAT
OCEAN
PHOTOS
Wilderness, wildlife and wild oceans make Victorias Shipwreck Coast
an adventure for the camera and your car, writes Ewen Bell
long the western coastline of

Victoria from Torquay to Apollo
Bay there are as many holiday
homes enjoying the ocean
views as there are cars on the highway.
Summer is high season as Melbourne
residents run from the heat waves in
search of ocean waves, while the cooler
months offer excellent value for motorists
in search of a truly great touring route.
Torquay and Lorne are hubs for daytripping, with no shortage of gelato stalls
or gourmet fish n chips. Adulthood is no
barrier to reliving your childhood on these

busy beaches. The further west you head
the less crowded the scenes become, or
escape the beach entirely by heading inland
for treetop walks or a wander to waterfalls.
A single day is not nearly enough to
enjoy the Great Ocean Road and the best
attractions come into view on the other side
of Lorne. Apollo Bay offers excellent options
across all budgets for accommodation,
both in town and in the surrounding hills.
Gourmet gems like Chriss at Beacon Point
provide a romantic setting amongst the tall
timber, both for dinner and for the night.

The most fun to be had without exceeding
the legal speed limit is definitely between
Lorne and Apollo Bay, with the biggest
bends and sharpest hairpins set against
the backdrop of crashing waves.
Cute and cuddly

Heading west from Apollo Bay, the
highway winds inland into forests and
cooler mountain air. Massive trees tower
overhead like a natures cathedral, with the
occasional koala looking down from above.
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GREAT OCEAN PHOTOS
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IMAGE
ICONIC
APOSTLES
WorldMags.net
Shot with a Canon

1DsMkIII; EF16-35mm f/2.8
lens; 0.6sec; f/22; ISO 100
FEATURE
WorldMags.net
EWEN BELL
IMAGES
FLAGSTAFF HILL
TEAROOMS
(LEFT) Shot with

a Canon 1DsMkIII;
EF16-35mm f/2.8
lens; 1/80sec; f/4.5;
ISO 1600
CAPE OTWAY
LIGHTHOUSE
(BELOW) Shot with

a Canon 1DsMkIII;
EF70-200mm f/2.8
lens; 1/320sec; f/10;
ISO 200
BEAUCHAMP
FALLS
(RIGHT) Shot with

a Canon 1DsMkIII;
EF16-35mm f/2.8
lens; 1.6sec; f/14;
ISO 50
Cloudy days are ideal for a

photographic visit to Hopetoun
and Beauchamp falls
A turnoff along this stretch to Cape
Otway is worth a day on its own. One of
Victorias most charming lighthouses is at
the end of the road, but unique coastal
scenery also awaits in Blanket Bay and
adjoining Crayfish Bay. At dusk the sun
disappears across the breaking waves, with
Cape Otway Lighthouse standing tall in the
distance and an array of rock pools offering
playful compositions in the foreground.
You never know what the sky will throw up
here, with the potential for reds and orange
glows caught by mottled clouds. Both sunset
and sunrise have their own charms at Crayfish
Bay, and its rare to see another soul out on
the rocks for the first or last rays of light.
Travellers are drawn to Cape Otway for the
lighthouse, but they stop along the journey
for the koalas. At first glance these furballs
look friendly as kittens, but those big claws
and grumpy dispositions become more
apparent as you get up close. Few places
inAustralia offer a chance to see so many
koalas in the wild, or to get so near. A handful
of turnouts along the drive to Cape Otway
Lighthouse are routinely filled with traffic
stopping to watch the treetops, and the
koalas have become so used to visitors that
some are happy to wander into the crowd.
Theres no official procedure when a
koala tries to eat your shoes, but make sure
you have a camera handy as you step away

from the curious marsupials. Their prime
objective in life is to rip things off trees, and
with a shortage of the right kind of trees at
the moment they can take an unnatural
interest in trousers and camera straps.
Kangaroos and wallabies are a little more
camera shy in The Otways, with plenty of room
to wander and a natural distrust of anything
that doesnt hop. The best way to get closer
to most marsupials is with a telephoto lens.
The folks at Great Ocean Ecolodge
specialise in wildlife walks, devoting much
of their time to caring for injured wildlife in
the region and the rest of their time to luxury
digs. A mix of comfort and tradition greets
guests and the lodge is a short drive from
all the best attractions of Cape Otway. At
dusk the kangaroos gather in the pastures
surrounding the lodge, grazing on the green
stuff while keeping an eye out for cameras.
Quirky quills
On the western side of Cape Otway the
Great Otway National Park stretches out to
include The Apostles and hidden gems such
as Moonlight Head. The sandy roads that
lead down to Moonlight Heads is popular
with echidnas in search of a feed. Theyre
creatures of habit that dont like to wander
too far from their chosen habitat. Digging
WorldMags.net
GREAT OCEAN PHOTOS
WorldMags.net
Hidden in the hills nearby are some

of Victorias most photogenic waterfalls
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FEATURE
WorldMags.net
EWEN BELL
Drive times
Apollo Bay can be reached from Melbourne within three hours in good traffic, and its
less than two hours further to reach Port Campbell. If you get short for time when
heading home the inland route back to Melbourne, via Colac, is less than three hours.
IMAGES
APOSTLES
VIEWING DECK
(ABOVE) Shot with

a Canon 1DsMkIII;
EF16-35mm f/2.8
lens; 1/250sec; f/10;
ISO 400
WRECK BEACH
(RIGHT) Shot with

a Canon 1DsMkIII;
EF70-200mm f/2.8
lens; 1/200sec; f/13;
ISO 640
KOALA
SPOTTING
(FAR RIGHT)
Shot with a Canon
1DsMkIII; EF70200mm f/2.8 lens;
1/4000sec; f/2.8;
ISO 800
underneath the roots of flowering heath

and pushing aside fallen leaves, they
become oblivious to approaching cars
until its too late to hide. Their reaction to
suddenly being discovered is endearing,
as they scrunch up into a ball of quills
and bury their head deep into the dirt.
Shutter-shy behaviour isnt great for
photographers, however; you can spend
all day waiting for echidnas to pop up for
a shot, silently poised to strike the shutter,
and that first frame will be the last for
another ten minutes as they re-panic
and dig in a little deeper.
Most monotremes are dedicated
introverts but once in a while you can chance
upon an outgoing individual who is more
concerned with a good feed. Local farmers
get to know the friendly echidnas and their
schedule. If youre staying at a farmhouse
location like the cottages at Johanna, be
sure to ask your host where the wildlife
is likely to make an appearance.
Falling moonlight
At the end of Moonlight Head Road the
waves roll into Wreck Beach, a treacherous
piece of coastline that has claimed its
share of shipwrecks and attracts a lot of
photographers. Most of the refuse from
these historic events is long washed away
but the rusting anchors of the Marie
Gabrielle and Fiji are notable exceptions.
At low tide the rock pools are exposed
and the anchor rises above the scene
like a ghoulish work of sculpture.
The art of rock pools and photography

depends on the tides, and that time of day
when the waves are washing through the
pools without concealing them is the stuff
of art. Slow shutters and a tripod can be
used here to turn the sea silky and allow
the stoic image of the shipwreck anchors
to float above the chaos.
Checking the tide times on your
smartphone before you venture out
is a good idea too, as too much or too
little reach from the waves will change
your options for composition.
Waves over rock pools are not the only
natural treasures in The Otways to inspire
slow shutters. Hidden in the hills north of
the Shipwreck Coast are some of Victorias
most photogenic waterfalls, easy to access
and a rich reward for anyone dedicated
enough to carry a tripod.
Tall timber and tree ferns of The Great
Otway National Park make the most of
the prevailing precipitation, and the river
systems of the Otways are blessed with
abnormally high rainfalls. Within an hours
drive from the highway at Apollo Bay or
Cape Otway, you can reach the rainforests
at Hopetoun and Beauchamp Falls. Both
are found at the end of wooded walks with
a few steep steps involved, although the
distance from carpark to camera stop is
shortest at Hopetoun Falls.
Not only is a tripod handy when
shooting for slow and velvety scenes of the
waterfalls, but a wide angle lens is rather
essential as you get close to the action.
WorldMags.net
Cloudy days are ideal for a photographic

visit to Hopetoun and Beauchamp, as the
soft and even light of overcast conditions
compliments the slow shutter themes.
Bright, sunny days often prove too mottled
with hot spots where the water breaks out
of the forest.
Fallen apostles
Once known as the Twelve Apostles, the
geological remnants of limestone erosion
are becoming fewer and shorter by the
decade. Sunset from the viewing platforms
at The Apostles is still beautiful, waiting for
the sun to disappear over the ocean as the
colours of the water and cliffs all around
shift hues.
Even on a cloudy day this location
is worth a visit, because any gap in the
clouds out to sea will give an opportunity
for the last gasp of sun to paint the sky
with colour. In fact, this combination of
very late light with dappled cloud above
makes for landscape magic. There is plenty
of room on the viewing platforms for
tripods; just pick a spot early and watch
the changing light. As an added bonus,
GREAT OCEAN PHOTOS
WorldMags.net
Slow shutters and a tripod

turn the sea silky and allow the
anchors to float above the chaos
the Fairy Penguins make their run home
just after the sun goes down, gathering
in rafts of up to a hundred and riding into
the shore together. Their chatty tack tack
calls can be heard when theres no wind,
but dont expect this to be a great spot
for photographing these shy birds.
The Apostles get most of the attention
but there are equally photogenic sections
of the coastline, such as the beach at
Loch Ard Gorge or the cliffs nearby

Sherbrook River. A few secluded beaches
west of Sherbrook River can be reached
by the walking trail and offer powerful
combinations of sky, surf and sand
for photographic compositions.
Sometimes its the little things that
make compelling captures, so take a
moment to contemplate the coral and
kelp that has been washed ashore too.
Wildlife lens
Some koalas will get close enough to chew on your shoe but most
marsupials in the Otways and Great Ocean Road will be shy of the
lens. A telephoto lens is the key with a range of at least 200mm
required for kangaroos on dusk, and 400mm preferable. Penguins
are off limits and can only be viewed from platforms at The Apostles.
WorldMags.net
FEATURE
WorldMags.net
EWEN BELL
This combination of very late

light with dappled cloud above
makes for landscape magic
Walk, dont run

If you want to see more of the coastline than most visitors, try hiking
instead of driving. The Great Ocean Walk offers over 100km of trail
through the Great Otway National Park, spread across seven days of
hiking with some difficult sections for those who enjoy a challenge.
greatoceanwalk.info
Some sections of beach have been off
limits in recent years due to new colonies
of Fairy Penguins, but you can still reach
the shores at Gibson Steps for a sunrise
shoot. Port Campbell is an excellent
overnight base for this bit of coastline, but
take care with kangaroos and their poor
sense of road rules in the pre-dawn light.
Fairies and whales

Warrnambool has become a hot spot for
whale watching in the winter, with a natural
cove protected from the worst weather
offering a safe sanctuary for Southern Right
Whales nursing their new born calves.
Logans Beach is where whale spotters
head from June to October, but youll
need a very long lens and a sunny day
to get the photogenic side of the
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whales. Boating is not permitted within

the sanctuary so your viewing is limited
to the beach.
For a detailed look at the history
of whales, tall ships and tragic tales
of the Shipwreck Coast, its worth a
visit to Flagstaff Hill Maritime Village.
Relics from the wrecks are central to
the exhibits, along with the 1870s village
restored to its former glory. An evening
laser show is one of the more unusual
attractions to the region, designed to
engage audiences of all ages with
historical stories of the coast.
The lighthouse at Flagstaff Hill is
charming but an hour down the road
youll find one of the most photographed
in the state. Port Fairy Lighthouse sits on
the edge of Griffiths Island, surrounded by
GREAT OCEAN PHOTOS
WorldMags.net
Ewens top 10 tips for better
landscapes every time
01
FOREGROUND FIRST: The difference between a good landscape image and

a great one is the detail of the foreground. A majestic vista is improved
when complimented with interesting foreground detail, helping to build a story of
the location through texture or leading lines.
02
SOLID FOUNDATION Nothing beats a seriously good tripod for slow

shutter landscape work. Tidal movement, afterglow exposures and night
stars all get a boost when you have a sturdy tripod free of vibration and wobble.
Lighter is not always better as a little bit of vibration can ruin a lot of hard work.
03
GRADUAL SUCCESS Graduated ND filters are helpful when balancing out

reflections in the water to match the bright sky above. Sliding them into
position with your Live View activated allows for perfect composition and precise
balancing with your graduated filter.
04
POLARISED PUNCH Polarising filters are great for cutting out glare and
adding punch to blue skies especially ones with nice clouding. Essential if
youre taking photos in the middle of the day or in direct sunlight, they reduce
reflections on surfaces like water and leaves while increasing colour saturation.
05
SMARTER PHONES Being prepared for the shot is essential, so knowing when
the sun is rising and where makes all the difference. Smartphone apps allow
you to find the right place and time, every time. Planning ahead is critical and serious
landscape artists will make several visits to a location to capture the perfect light.
06
CLOUDY CAPTURES Overcasts days or the dim light of dusk are the best
for shooting the falls, offering even light across the scene and an
opportunity to play with slow shutters. Somewhere between 2 seconds and 10
seconds is ideal to turn the water smooth and velvety. When the sun is too bright
you can use an ND filter to slow down the action as required.
07
PIN SHARP Cameras have come a long way since the days of film and your
digital sensor can capture images in far more detail than most lenses can
match. With good glass on the camera, you now have to worry about diffraction and
how it can spoil a lovely landscape. As the f-stop climbs your aperture gets very narrow,
like a pinhole, and your images become less sharp. Test for yourself by shooting a scene
at f/4, f/8, f13 and f/22 and see where you first spot the diffraction with your lens.
08
WATERFALL WONDERS A waterfall can make a stunning compositional

element to a landscape shot, breathing motion into your scenes. Watch out
for highlights created by patchy light; cloudy weather can also work to your
advantage in these conditions.
09
DYNAMIC LANDSCAPES It's often the case that your camera can't quite
match the dynamic range of a landscape scene. Bracketing your exposures
and using HDR software allows you to extend the working range of your image,
bringing bright skies and shadowy valleys into balance.
10
WIDE PRIMES Landscape opportunities often lend themselves to a very

wide lens, but the wider your glass the more prone to distortion and
aberrations in the edges. Prime lenses will give you the least degradation and
preserve the important foreground detail away from the centre of the lens.
Zeiss Distagon
T* 15mm f/2.8
Autofocus lenses are not imperative for
landscape work, so its worth having a look at
the fine primes offered by Zeiss to complement
your landscape passion. Recently introduced
to Australia is the 15mm f/2.8, adding to the
21mm f/2.8 and 18mm f/3.5. lenses.zeis.com
nesting shearwaters since 1859. Every
September the birds arrive home after
their migration from Alaska, ready to nest
and make the most of the summer season.
The week they arrive is mayhem
for locals as flocks of birds arrive
simultaneously and filling the sky with
wings. Port Fairy is a quiet village once
the shearwaters have landed, home to
a small fleet of fishing boats and sailboats.
The estuary is lined with charming
cottages, most of which offer their
accommodation for visitors.
A handful of galleries have appeared
in the township, enough to form an artists
walk and provide a touch of creative
expression to the journey. There are
fine galleries and photographic works
on display at the other end of the Great
Ocean Road in Torquay, but the enclave
of art in Port Fairy is a little more in tune
with the setting.
This remote coastal location has
attracted artists from far and wide to
call it home, resulting in a variety of
mediums that embrace the coastline
colour palette. Whether you enjoy
panoramas, the paintbrush or pastels,
its always satisfying to be in the company
of like-minded creative types.
IMAGES
CRAYFISH BAY
SLOW SHUTTER
(FAR LEFT, TOP) Shot

with a Leaf Credo
60; Mamiya LS
80mm f/2.8 D lens;
8sec; f/22; ISO 50
SPOILT
FOR CHOICE
(FAR LEFT, BOTTOM)

Shot with a Canon
1DX; EF24-70mm
f/2.8L II lens;
1/160sec; f/2.8;
ISO 100
CAPE OTWAY
ECO LODGE
(LEFT) Shot with

a Canon 1DsMkIII;
EF16-35mm f/2.8
lens; 1/400sec; f/10;
ISO 200
APOLLO BAY
FARMLAND
(ABOVE) Shot with

a Canon 1DsMkIII;
EF16-35mm f/2.8
lens; 1/100sec; f/13;
ISO 400
For more of Ewens adventures

here and abroad, check out
PhotographyForTravellers.com
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TECHNIQUE
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EXPERT TIPS | TUTORIALS | PRO GUIDES
ASK THE
EXPERTS
Your questions
answered by our
panel of photo
gurus 66
VIDEO
CORNER
TUTORIALS:
PHOTOSHOP
Darren Lunny chats

with British DSLR
video pioneer
Philip Bloom 68
78 FEEL
Canberra shooter
Shanx Bose blends an HDR
background with a well-lit
studio subject to create a
gorgeous hyper-real image
WALK
WITH A
PRO
84 AWAKENING
Natural Beauty:
Doug Hall on portraits
with zero make-up
or styling 74
Slovenian designer
Kristina Alegro shows us how
to bring an abstract image
to life through extreme
textural manipulation
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ASK THE
IN EACH ISSUE, OUR STABLE OF PHOTO GURUS

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Experts
WILL FIELD QUESTIONS FROM READERS ON EVERYTHING

FROM TECHNIQUE TO GEAR, PHILOSOPHY AND MORE.
Q&A
I bought a Nikon D600

recently and quickly noticed
spots appearing on the
sensor. I had it cleaned and
new spots started appearing
right away. Thats when
I checked online and read
about the oil spots caused
by a faulty shutter in the
D600. What can I do to fix
the problem short of selling
my D600?
n D600 sensor unit
Tim Ferguson
Ewen Bell says:

This is a tricky issue and one Ive seen firsthand
in recent months. The D600 is an excellent camera
but the problem with oil spots is pretty annoying
for those affected. Most people only see the
impact of oil and spots on their sensor when
shooting around f/8 or higher, and then only
against a solid background like a white wall or
a blue sky. Also confusing the issue is working out
if you have dust on the sensor or droplets of oil
that have bounced off the shutter. This leaves a lot
of room for negotiation by Nikon when talking
about a warranty dispute.
The problem has been widely reported
and appears to be persistent. After having
the sensor cleaned you can expect still more
spots to show up. Its not the end of the world
as you can remove spots in post-processing,
but that is hardly a satisfactory situation for
someone whos just bought a brand new
full frame DSLR.
Nikon have not responded to the issue
with a global policy, leaving each region
to handle it as they see fit. In practice this
means that most complaints made under
warranty will likely result in a free cleaning
of the sensor. This is a temporary response
as the oil keeps spreading the more you
use the shutter, so you will have to clean
it again and again.
In some countries there have been
reports of Nikon replacing the entire
shutter mechanism, along with the
splatter-affected low pass filter. As yet
there are no reports of this level of repair
in Australia. Beware also that if you bought
your D600 online or from a vendor who
imports the overseas models, you wont
be eligible for any warranty support from
Nikon Australia not even a cleaning.
Shoppers looking at the new Nikon
D610 should note that a modified shutter
mechanism replaces the D600 with faster

frame rates. There have been no reports of
the oil problem that affected some batches of
the D600. We contacted Nikon to request a
formal statement on the matter and they
referred us to their website and the advisory
worded as follows:
As a first step, please follow the guidance
from the Users Manual (pages 301-305)
related to the Clean Image Sensor function
and manual cleaning using a blower. If these
measures do not remove all dust particles
and you are still experiencing problems,
then please consult your nearest Nikon
service center. They will keep your
camera, examine it thoroughly,
and service it as needed.
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Corey Middleton says:

When problems with the manufacturer like
this occur, the real value of having purchased
through an Australian dealer becomes
apparent. Nikon have a very stern policy
regarding grey market and parallel imported
cameras not being eligible for local support.
Those with grey market gear may face the
problem of having to pay for shipping back
to Hong Kong and the risk of little or no
recourse or solution under local warranty laws.
Q&A
Im looking at upgrading to a better DSLR and

have been going back and forth between a
Nikon D7100 and D800. I like to print my
pictures large (13x9) and I have all FX lenses
so that is not an issue. Often even with my
28-300mm lens I still have to crop my images
so my subject fills out the print. Im trying to
understand which camera will produce a
better enlarged print. So as I read it, the
D7100 has higher resolution and higher pixel
density and the D800 has a full frame sensor
and 50% more pixels. In the end, which will
produce the better poster-sized prints,
especially if I have to crop in more?
Kenneth Breivik
Doug Hall says:

The D800 with its higher pixel count (36MP) and
lower pixel density (ie, each pixel is bigger and
therefore collects more light) will give you better
images and allow you to crop more. A lower pixel
density is desirable because it results in less noise
and sharper images. The only reason to pick the
D7100 over the D800 would be if you want the
1.5x crop factor to effectively boost the zoom of
your lenses (eg, a 200mm lens on the D7100 would
effectively be a 300mm lens). The D800 is generally
regarded as one of the best, if not the best available
consumer sensor on the market at the moment.
allow for higher quality, large print size or

crop and print very easily. Inherently, the
closer the pixels are the more likely the
sensor will produce noise on the image.
This would be another reason to choose
the full frame. The perceived advantage
of the 1.5x crop factor on the D7100 is easily
overcome buy using affordable lenses such
as Sigmas 150-500mm OS HSM to give
you that additional reach plus a more
pleasing perspective to
the image on the
full frame.
Ewen Bell says:

Cropping pixels on the computer on a full frame
sensor versus shooting with a cropped sensor to
begin with essentially boils down to pixel density.
Id pick the D800 every time because you dont
always want telephoto and cropping, and youll
get a more pleasing bokeh when shooting with
a fast lens. The D7100 effectively magnifies
your depth of field when it crops the image.
My experience in testing large prints from a variety
of sensors is that 13x9 prints are not a problem
for the D7100. You will see some impact on the
smaller sensor with a Micro Four Thirds, but you
have to look pretty hard to see it. If youre planning
to produce very large prints, around 40 wide, then
the D800 will show its true strength.
Corey Middleton says:

I agree with the general consensus here that the
Nikon D800 with its full frame will deliver better
results over the Nikon D7100. The larger sensor
and greater pixel size on the full frame will
ultimately capture more data than the APS-C
sensor size. Similar to 35mm versus medium
format back in the day. This amount of data will
ASK OUR EXPERTS SEND QUESTIONS VIA TWITTER, FACEBOOK, OR EMAIL:
Ewen Bell
DP Magazines
Editor-at-large
and reviews guru,
Ewen is Melbourne-based,
but conducts photography
tours all around the world.
@DPMagAustralia
Grenville
Turner
A pioneer of landscape
shooting in Australia,
Grenville has a career spanning
more than 30 years and is based
in Alice Springs.
facebook.com/DigitalPhotographyMag
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Corey
Middleton
An accomplished
Sydney shooter,
Corey works with photographic
distributors CR Kennedy
& Company.
editor@dpmagazine.com.au
TECHNIQUE
ASK THE EXPERTS

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IN THIS ISSUE, ITS AN ALL-NIKON AFFAIR AS OUR EXPERTS

DISCUSS A D600 DEFECT, AND ARGUE THE MERITS OF A
D800 VERSUS A D7100 WHEN IT COMES TO LARGE PRINTS.
VIDEO
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Corner
A career
in Bloom
ne of the things I crave
the most as a freelance
filmmaker is the insights,
opinions and advice of
others in my world. So I was excited
and somewhat humbled when British
filmmaker Philip Bloom agreed to chat
to Video Corner about his career; his
relentless quest to educate others;
what gear hes excited about; and what
we can all do to improve our lot as
storytellers. Philip was one of the first
cinematographers to embrace Canon
DLSRs, which he used to shoot part
of Lucasfilms (thats George Lucas)
Red Tails. His blog has been a font
of cinematographic knowledge for
many a filmmaker including this
one and regularly gets close to a
million visitors a month.
Youre credited with being a DSLR

pioneer; do they still hold the same
attraction these days as when you
first started shooting with them?
Yes, they do. Whats frustrating is that
a lot of them havent improved as much
as they should have done in five years.
Its been five years now since we had the
5DMkII. My favourite camera, though, is
a Canon 1DC, which is a rather expensive
DSLR from Canon. But it shoots 4k video;
amazing stills; brilliant full HD, full-frame
video and I love the super 35mm mode.
Its like a jack-of-all-trades camera that
shoots fantastically well in almost all
of it. The only thing it doesnt do well
is audio, like most DSLRs. But its a
high-end camera.
But Ive just bought another camera
and what excites me about it, even
though the video image isnt perfect
its a Sony A7R a small mirrorless camera
with a full-frame sensor is that it shoots
astonishing stills and great video in a
small, compact body and it just goes in my
bag and its always on me. That excites me.
I just wish manufacturers would put in
Yes, a good idea is

more important
than a great camera,
but you still need a
half-decent camera
the improvements they need to properly;

I think the reason theyre not doing that
is simply because they have video cameras
as well now, which we werent clamouring
for when DSLRs came out, and so they
started bringing those out for more
money. The filtering through of those
improvements into DSLRs has been
painfully slow but Im still excited by them.
I still love the form factor of the DSLR.
If you had the choice between
having great gear and having a
great idea, which would you choose?
That is a tough, tough, tough,
tough question. Ive just taken part
in something for Digital Rev TV a
Hong Kong-based company and they
have this show that attracts lots of really
high-end photographers. Its called
Pro Photographer, Cheap Camera. You
give them a really crappy camera and
they have to get something really good
from it. I watched this and thought,
This is cool, this is quite fun. Ive worked
with lots of low-end cameras before and
its fun. I just came back from Hong Kong
two days ago and did their first filmmaker
one for their Christmas special. The camera
they gave me I kid you not was a
bloody Barbie Doll with a camera in her
breasts! The quality was beyond abysmal.
I mean, beyond abysmal. Were talking
less than half the resolution of standard
definition camera, and with a blockiness
that was astonishing. I had no idea what
the camera was and of course I had to
make a film out of it.
I couldnt just do a few shots of
Hong Kong with this camera because
it was so poor, so I had to make a virtue
of the fact that it was a Barbie camera.
It was an incredibly challenging thing
for me to try and make a three-minute
film that actually made sense and was
compelling enough to watch. I had to
really think fast and write fast and
figure it all out as quickly as possible.
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TECHNIQUE
VIDEO CORNER
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MELBOURNE FILMMAKER DARREN LUNNY, OUR RESIDENT VIDEO EXPERT,

CHATS WITH BRITISH DSLR FILMMAKING PIONEER PHILIP BLOOM ABOUT NEW TECH, OLD
MISTAKES AND HOW CLOSE HE CAME TO NEVER PICKING UP A CAMERA IN THE FIRST PLACE
WorldMags.net
VIDEO CORNER
But Ive managed to make the crappy

postage-sized image look half decent by
blowing it up to a standard definition size
and applying a film convert filter, which is
a wonderful plug-in that I use mainly for
higher-end cameras to soften down the
harshness of video. Putting on a super 8
filter hides the blockiness beautifully.
So I dont think the whole black
and white argument works. Yes, a good
idea is way more important than a great
camera but you still need to have a half
decent camera to carry out that good
idea. It doesnt have to be amazing; a
cheap Canon DSLR will be fine. Maybe
the answer to your argument is: an idea
is more important than the camera
because theres no point in having a
really, really expensive camera if you
have completely shit ideas.
What are the top five bits of gear you
wont go to a shoot without?
Obviously a camera with glass is
essential; a good tripod a decent
tripod makes a world of difference.
I use Miller tripods. I have everything
from the lower-end DS20, which I use a
lot for smaller cameras, through to the
big Compass 25. Audio is so important
and often forgotten about; I use Rode
n Sony A7R
Shoots astonishing stills and great

video in a small, compact body
n Canon 1DC
My favourite camera shoots

4k video; amazing stills; brilliant
full HD, full-frame video and
I love the super 35mm mode
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VIDEO CORNER
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microphones a lot, so I have a lavalier

microphone and a shotgun microphone.
If youre using a video camera obviously
it goes straight into that but if Im not
using a video camera then it goes into
a separate audio recorder.
The camera is dependent on the job,
as is the glass; nothing crazy expensive,
mainly stills lenses. I use limited lighting,
really. Im using a little pack of lights from
an English company called Gecko, which
is one LED soft light and Dedo-type hard
spotlights. Otherwise a 1x1 light panel;
couple of dedos a pretty basic light kit.
Every jobs different but you need to
have those key things.
With cameras so cheap now, people feel
reluctant to part with money on gear that
REDHEAD WINDSCREEN REVIEW

Aside from making your audio recorder look more
like a troll doll, this little device is a must if youre
recording sound outside on a windy day.
The Redhead Windscreen (which comes in nine
different colours, including kryptonite!) sits on top of
the recorders microphones and reduces wind noise
by up to -20db.
It basically slows down and softens wind velocity,
which creates a dead space of air between the inside
lining of the windscreen and the microphones, giving
you crisp, clean audio.
The Redheads fit several different models

of nine different recorder manufacturers but
if youve got a recorder thats not on their list
theyre happy to do one-offs. Its the way they roll
in Maui!
Unfortunately there are no plans in the wind
(sorry) to make windscreens for lapel microphones
but Ill keep badgering them until they do. Oh, and no
animals are harmed in their making, either
Redheads are made of a synthetic fur. US$34.95;
redheadwindscreens.com
This is not
a job thats
going to make
you rich. This
is a job thats
supposed to
make you
happy
costs more than their camera. If youre
going to spend $700 on a camera most
of what youre going to buy is going to be
more expensive than $700, so you have
to get past that concept.
The philosophy I try to instil in people is,
Yes, you can buy things cheaply, but know
what youre going to get. I would always
rather buy once more expensive than buy
cheaply three times.
Your workshop schedule is intense
what drives you to educate people?
I do enjoy the workshops, especially the
shooting workshops I enjoy very much.
We just did one in Vienna and it was a
very interesting experiment. There were
25 students and we had five different setups for them to do one was a juggler,
one was a guitar player, one was a stiltwalker, one was a clown and one was a
stable boy and each of them had five
minutes to film a 30-second sequence of
each set-up. At the end of it we had 250
of these to watch. Youd think it would
have been incredibly boring but it was
fascinating to see how people shoot the
same scenario with relatively the same
equipment; their ideas and how they
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VIDEO CORNER
Ive made countless

mistakes. Those are what
make you who you are
interpreted it within a very short period
of time was astonishing. That sort of stuff
is really fun. I get less excited by just
talking all day. I need to shoot as well,
thats the most important thing for me.
The moment I stop shooting and just
teach will be a sad day.
If you had your 25 years as a news
cameraman over again, would you
do anything differently?
Ive made countless mistakes in my life
and those are what make you who you

are. You learn from your mistakes. I think
I left at the right time at Sky News. I didnt
stay a moment too long. I did some stuff
that I was very proud of in the last year
working there. I probably could have
got in a bit quicker, moved up a bit
quicker, but everything happens
for a reason.
I came this close to actually being
a journalist rather than being behind
the camera I liked the writing aspect.
ZACUTO MARAUDER REVIEW

I must admit when I pulled this rig from the
box I wondered how effective something so
small could be. The Marauder fit into the palm
of my hand and it weighs a miniscule 1kg, but
in three easy moves this super lightweight
frame unfolds to become the run n gun
shooters best friend.
When you dont want to be weighed down
by follow focuses, counterweights, electronic

viewfinders, matt boxes and all of your filmmaking
bells and whistles, this is the rig for you. In fact
I felt almost naked as I stepped out the door
to put the Marauder through its paces.
It took me a few minutes to attach the gorilla
plate and 3.2 mounting frame to my 5DMkIII, and
once Id tweaked the position of the adjustable
handgrip and gunstock I was ready to go.
The camera sits on a support arm that can be
swung into two different positions the first for
when you want to use a Z-Finder and the second
for when you want to frame and focus by looking
at the screen on the back of the camera.
I was shooting down at the beach on a
blustery Melbourne day, so I was interested
to see just how much stability this rig
would offer. I started with a 50mm lens
and the camera support arm in the Z-Finder
position and Ive got to say it was very solid.
The Marauder just felt very sturdy tucked into
the crook of my right shoulder and if a gust
of wind picked up I found pulling the unit
into my chest gave it that extra stability.
I tested it with my 24-70mm lens without
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much fanfare and thought Id give my

70-200mm a crack to see if the weight
(which is all forward of your shoulder) affected
my ability to hold everything steady. My arms got
a bit of a workout but it wasnt too strenuous to
hold a steady shot.
Overall this is a great rig. I would absolutely
use it for run n gun shooting, particularly on
long shoots where carrying a heavy rig on your
shoulder is not your friend. US$775; zacuto.com
VIDEO CORNER
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But there was also a chance before that when
I almost ended up becoming a supermarket
manager. I was, again, that close. Had I
nothad a letter from Sky after having
rejection upon rejection saying come in
and have a chat, we may have a really shitty
job for you (which is not what they wrote
but its what they meant), I may have taken
that and we wouldnt be talking right now.
What advice would you give to
budding filmmakers?
Theres a lot of us out there. The cameras
and gear have got so cheap, so competition
is huge. Youve got to be confident that
you have the ability to not just sell yourself
but also have the talent to back it up.
Education is incredibly important,
whatever form that takes; whether you
need to go to film school or intern for
people, which I think is more useful. Youll
learn a hell of a lot more a hell of a lot
quicker by interning with someone for
three months than you would in three
years at film school.
I can tell you right now this is not a
job thats going to make you rich. This is
a job thats supposed to make you happy,
because its a creative job. Its not like a
proper job. So dont do it in one jump. Dip
your toe in. Dont jump headfirst. Build it up

slowly until you feel you have something
that can sustain you financially, because at
the end of the day we need to be sustained
financially, especially if youve got a family.
I dont think your family would be very
happy if you gave up your well-paid job
to take a chance on your passion without
knowing you have the work to go to.
Find that work first, and if you feel it can
sustain you, then great because if

it makes you happier thats the most
important thing. We all need to do
something that makes us happy.
For more from Philip Bloom, check out
philipbloom.net and you can reach
Darren with questions via LoupeFilms.
com.au; Darren@loupefilms.com.au;
@loupefilms on Twitter.
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WALK WITH
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DOUG HALL WANTED TO PROVE HE COULD PRODUCE
A Pro
GREAT PORTRAITS WITHOUT THE NEED FOR MAKE-UP

OR STYLING WITH JUST FIVE MINUTES PER MODEL AND
Natural beauty
shooting
A
s a professional
n Its important to make
photographer, I am often
using other professionals in
my team so as to create the
best images for my clients. Experts in
hairdressing, make-up and fashion styling
are often essential members of the
creative team. Does this mean you must
have these people in your team to make
a great image? The simple answer is: no!
Im of the opinion as a photographer
that the most important part of any
image is the light and when
photographing people the emotion
the model is projecting through their
expressions. Words are easy to say; actions
prove them to be true.
This was brought to the fore for me
when a model friend of mine said that she
couldn't remember the last time she was
on a shoot that she wasn't in hair and
make-up for two hours beforehand. That
sounded like a challenge to me, so I said to
her, You don't need all that to make a great
image. And I promised to prove it to her.
sure the model is at ease

and doesnt have any uneasy
tension in their face.
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n Try using the wardrobe

for a different look.
Hoodies, scarfs, hats, etc.,
can really change the
whole feel of an image.
That afternoon I put out an open

call to Facebook asking any and all
models to come to the studio for
a fun portrait session: come as you
are, listen to some music, have a
few drinks, some pizza and enjoy the
company of others and while were
here, lets take a few photos. The one rule
was that there was to be absolutely no
make-up and no hair stylist. I wanted to
show the natural beauty of these people.
Ill admit I was quite surprised by the
variety of responses I got. Some models
simply refused to get in front of a camera
without extensive hair and make-up
done, while others were super excited
that they didnt have to arrive two hours
early just to get through five minutes of
actual photography.
Getting everything ready
The one rule was that there

was to be absolutely no
make-up and no hair stylist
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I wanted to make sure that the models

all had a good time, so I arranged all my
lighting beforehand and used the same
setup for every model. The setup wasn't
complex: two gridded strip lights used
as left and right rim lights, positioned
slightly behind the model; a small
softbox on a boom set slightly in front
of and high of the model; and to finish
it off, a reflector as a fill light low and in
front of the model angled into the eyes.
When the models started to arrive
they were all keen to see what could
be done without the normal laborious
effort of hair and make-up preparation.
Some were doubtful that we would get
TECHNIQUE
WALK WITH A PRO

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MINIMAL PROCESSING. HERES HOW HE WENT
n If your model is feeling
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uncomfortable, try giving

them a prop or using their
hands to do something
like playing with their hair.
We cranked the music up,

popped the bubbly and just
hung out in the studio
anything good, but all were eager to have
a good time. We cranked the music up,
popped the bubbly and just hung out in
the studio. Each model spent about five
minutes in front of the camera with the
crowd of onlookers making faces and
trying to distract them while under the
glare of the lights and my lens. It ended up
being a truly fantastic shoot as there were
absolutely no expectations, no clients and
no objectives: just a bunch of cool people

hanging out getting some images.
camera positioning, while they were letting

me know exactly what sorts of things they
love and hate while on photo shoots.
I was very surprised to learn that one of the
Shared experience
One of the great things I discovered as the biggest things models didn't like was when
evening progressed was that other models they received no feedback whatsoever from the
were chipping in, making suggestions on photographers. Im always talking when I shoot,
so I didn't really think about it until I tried it
posing, so that we were all learning from
for five minutes. I didn't talk, didn't interact
each other as we went along. I was
with the model much and just took images.
teaching them about the light and the
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WALK WITH A PRO

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n Try getting your models
to stares through or past the

lens, not just at it. I find it can
open the eyes more and give
you a piercing look.
PRO TIP
When I looked at the images on the back
of the camera, I had to admit that what
theyd said was spot on: the emotions and
expressions were all fake and obviously
so which just killed the shot.
Quick edit
After everyone had enjoyed their five
minutes or so in front of the camera, I left
them to chat and chill while I uploaded
the RAW into Lightroom and did some
basic editing. I did a high-contrast blackand-white conversion and a little exposure
painting to bring out the eyes. I then
brought the team over to the computer to
show them the results of having some fun
without hair and make-up being done.
Some models who have worked with me

before weren't surprised, however others
were stunned that we were able to get
great images with almost no preparation
and a very short post-production process.
I love photography and love working
with talented people in my team, each
helping create great images. Sometimes
stripping back to just the photography is
good as well.
This time I used studio lighting; next
time we might just hang out in the park
and use the sun, or wander the streets
using the light from the city buildings or
streetlights. It's all about the light. And
when shooting people, its about getting
the natural expression. Until next time.
Hair lights
To stop your subject blending into the
background and getting lost in an image,
introduce a hair light to light the back of
their head and create contrast. Having the
hair light at a high 45-degree position
behind and to one side is good. Use an
off-camera flash with a remote trigger,
or go even more basic and just use a torch
if you have to!
Backlighting
For a more dramatic effect, place the
light behind the subject so that their head
blocks the view of the light into the camera.
Keep the power up so it gives a bright
highlight around their head. Colour gels
on the light can even add a rockstar feel.
Reflector magic
One of the cheapest, simplest and most
versatile tools for the photographer is a
reflector. You can buy 5-in-1 reflectors for
less than $50 online. Their main use is
to direct light towards your subject, but
you can also use them to shade the
subject from harsh light.
Talk it up
Always communicate with your models.
They need to feel part of the process. Even
if youre testing for exposure or need to do
adjustments, tell them that. I hate having
those weird silent moments during a shoot;
lose your connection with your model
and it becomes even harder to get the
look youre after.
WorldMags.net
TUTORIAL
WorldMags.net
CREATING A
Photoshop
DYNAMIC IMAGE
Level: INTERMEDIATE | Time: 2+ hrs
01
GETTING THE SHOT

Using a tripod and camera on manual
mode at F8 or F11, capture 5 images each
a stop apart. Start at camera-suggested
metering, then 2 stops below that and 2
stops above that. Open the RAW images
in PS Bridge, use Tools > Photoshop >
Merge to HDR Pro. Adjust the edge glow,
radius and detail to taste.
WorldMags.net
TUTORIAL
AND BRINGS MAX PHOTOGRAPHY TO LIFE ON WEEKENDS. MAX-PHOTOGRAPHY.COM.AU
Titled Feel, this image attempts to capture the sensitive side of model
Samantha Lear. Based in Canberra, Lear brings her delightful sense of dry
humour, passion for modelling and talent to the table and gives it her all.
The background HDR image was captured at a park in the late evening,
essential for that incredible dynamic range in the image. The model was
captured using a left rear edge at high power, a right rear edge at very
low power and filled from camera left using a shoot through umbrella.
Once we settled on a base image from the series of images from the shoot,
our advanced post-processing workflows bring it all together to create this
gorgeous hyper-realistic image.
02
GETTING STARTED
Create a group Bg for the background. Start by duplicating
the HDR image (Windows Ctrl + J). Right now its a bit lifeless;
well be shaping the light to add depth. Duplicate the layer again.
Set the top layers blending mode to Colour Dodge. Mask out the
areas that are blowing out. Here I masked out a bit of the sun.
03
LIGHTING
Add a blank layer, set the blending
mode to Colour Dodge. Using a soft
brush, pick a darker shade of yellow
around the tree on the left. Paint the
bottom area where the sun is shining
to enhance it. Spread it out a bit.
The image is looking better already.
WorldMags.net
TECHNIQUE
WorldMags.net
SHANX BOSE IS A CANBERRA-BASED PHOTOGRAPHER. HE WORKS IN IT DURING THE DAY
TUTORIAL
DYNAMIC RANGE
WorldMags.net
04
PAINTING
Add a blank layer, set the blending mode to Colour Dodge. Now
well focus on the top part of the image. Using a soft brush pick
adarker green and paint over the trees to bring them out. Occasionally
pick with darker shades of yellow and paint over the trees, so the sunlight
looks more prominent on the areas where it is already present. Also touch
up the sky a bit with a darker shade of blue. The trick with colour dodge
is to select darker colours of the same shade to bring them out when
painting - brighter colours will blow it out/not look good.
05
TONAL WORK
Add a colour balance layer for more
greenish-red tones. Manipulate reds/
greens/blues in the image and make the
following changes: Shadows: -32, -26, -11,
Mid tones: 0, 0, -33, highlights: 0, 0, -40.
Mask off areas we dont want the effect
to reach, such as the sky.
06
SUNLIGHT
Add a blank layer, set the blending
mode to Overlay. Select a light orange
colour and using a soft brush, paint
over the sun and trees, keeping the
focal point at the center. Improve the
sky by painting over it with a light
blue colour as well.
WorldMags.net
TUTORIAL
ADD SOME CONTRAST

For a bit of edge contrast, well
darken the sky. Add a blank layer
andset to multiply. Use the same
bluecolour you used in the last
stepand paint over the sky area.
Clip a hue/sat layer (Windows Ctrl +
Alt + G) and drop the saturation to
-60, lightness to -12.
08
FOCAL POINTS
Add a dodge burn layer (blank layer, filled with 50%
Gray, set to overlay or soft light blending mode). Burn
the grass in edges of the image and a bit more of the
sun to darken and improve saturation. Were creating
afocal point for the shaped light by darkening the
surrounds carefully. Optionally add a channel mixer
layer and slightly brighten the reds and yellows by
selecting monochrome and setting the filter to Orange
Filter. Change the channel mixer layer to Luminosity
blending mode and drop the opacity to 75%.
09
FINAL BACKGROUND TOUCHES

Finish off the background by putting
aGradient Map on the image and from
thegradient editor, select a warm golden
colour (I used #3d2b0d). Set the blending
mode to Soft Light and opacity to 50%.
Were done with the background!
10
MAKE ROOM FOR THE MODEL

For model Samantha Lear, I used two rear edge lights and another light
in a shoot through umbrella at camera left, feathered carefully for fill.
Iused a higher power setting at rear left edge so as to fall in line with
thedirection of the sunlight. Extract the model using the quick selection
tool and refine edge tool, setting the Output To option to New Layer
with Layer Mask in the Refine Edge dialog.
WorldMags.net
TECHNIQUE
07
WorldMags.net
TUTORIAL
DYNAMIC RANGE
WorldMags.net
11
PROPORTION AND POSITIONING

With the masked layer selected,
using the Move tool and holding shift
(centres the image), move the layer
tothe background image. Place and
transform the model using the
Transform Tool (Windows Ctrl + T).
Using the sizing grids and holding
down shift to maintain the aspect
ratio, adjust the model image to scale
so it looks right on the background.
12
SHADOWS
From the menu, select Image > Adjustments >
Shadows & Highlights. Adjust with the sliders until
youget the desired effect. Start by decreasing the
shadows amount and increasing the mid tone
contrast. This will instantly pop the image. Adjust
theother sliders to taste, until youre happy the
image fits with the environment.
13
GRADIENT WORK
Double click the layer to bring up the Layer Style
dialog. Select gradient overlay and adjust the angle
so the gradient lines up with the direction of the
sunlight. Bring up the Gradient Editor by double
clicking on the Gradient colour bar. Click on the
highlights, and select a nice (darker) yellow colour to
go with the sunlight. Click OK and dismiss all dialogs.
14
COLOUR DODGE LAYERS

You should now have a new layer style added
tothe layer. Right click the layer style, and select
Create Layer - this will detach the Gradient Fill layer
style and create it on a separate layer. Set the blend
mode to Colour Dodge. Duplicate the Colour Dodge
Layer, and set the top layer to Colour Burn for extra
contrast. Mask out any areas that are too dark (such
asthe back of the model).
WorldMags.net
TUTORIAL
FINISHING THE FOREGROUND

Add a Dodge & Burn layer (as shown
before), burn the hair around the
forehead and the shadow areas of the
cheek so it blends better (burning
increases saturation). Also burn darker
areas of the dress and dodge brighter
areas for better contrast and drama.
Were done with the Foreground!
16
CREATING A WARM GLOW

For finishing touches, create a new group called Global for global
adjustments. Lets add some sunrays. Create an empty layer, select
Filter > Render > Clouds. Then select Filter > Blur > Radial Blur, set
the Amount to 100. Adjust the centre point of the radial blur to
where the sun is in the image. Click OK. Set the layers blending
mode to screen at 15% opacity. Duplicate the layer, set the
blendingmode to Soft Light and opacity to 40%. You should
have a nice warm glow of light hitting the models face.
17
FINAL TOUCHES
Optionally add birds using a bird brush to the
sky (plenty of free brushes available online) on
aseparate blank layer and set to 35% opacity.
Stamp all layers (Windows Ctrl + Shift + Alt + E).
Select Filter/Blur/Gaussian blur. Set the Radius
to 2 pixels, and click OK. Set the blending mode
to Overlay, and opacity to 15%. This will pop the
image a bit more. Were done!
The final image
WorldMags.net
TECHNIQUE
15
WorldMags.net
TUTORIAL
WorldMags.net
ABSTRACT
Awakening
SIMPLE STEPS for creating

a unique photomanipulation
using a mixture of ice
textures. Along the way,
youll learn some interesting
ways to manipulate texture
via image adjustment and
free transform.
WorldMags.net
TEXTURE WORK
Level: MEDIUM | Time: 1 HR +
WorldMags.net
KRISTINA ALEGRO IS A FREELANCE GRAPHIC ARTIST
TUTORIAL
WITH A PASSION FOR DIGITAL ART AND GRAPHIC DESIGN,

SITUATED IN SLOVENIA ALLEDESIGN.DEVIANTART.COM
01
Background
Create a new document with black

background and load the metal image
into Photoshop. Select a piece of the
metal texture using Rectangular
Marquee Tool. Copy and paste the
selection over to our document and
resize it to cover the canvas. Then apply
the following Accented Edges filter
to give it a special effect.
02
Removing edges
Use a soft eraser to remove the edges of this layer.
03
Adding
adjustment layers
Add the following two
adjustments layers on top.
WorldMags.net
TUTORIAL
ABSTRACT PHOTOMANIPULATION
WorldMags.net
05
04
Smoothing
skin on the
models face
Erasing edges and

playing with
adjustment layers
Load the model image

into Photoshop and
cut out the head area,
paste it onto our
document. Go to Filter
> Blur and use Surface
Blur settings (Radius
36, Threshold 12) to
smooth out the skin
abit. Midpoint: 0
Use a soft eraser to erase face

edges. You can also play around
by adding some adjustment
layers on top, then erase parts
you dont want with a soft
brush. Use your own creativity
to decide what fits best.
06
Adding ice texture and playing with

Warp Tool
Now were ready to add some ice texture to our image. Import
the ice image into Photoshop and drag it onto our model.
Delete sharp edges then use the warp tool to transform the
texture. Duplicate it and play with it so it fits our model best.
07
Changing blending mode

Repeat step 6 and cover edges of the models face. You can add different
textures, play with the warp tool and change blending mode as you wish.
I used several blending modes: Overlay, Linear Burn and Divide, but you
can try what works out best in your case be creative.
WorldMags.net
WorldMags.net
TUTORIAL
08
Eyes and final image shape

Were going to add more shape to our image. Import theice texture, use warp
tool, change blending mode to Linear Light. Repeat this step a few times and
position the ice texture on a few different places tosurround our image.
09
Colouring texture and

changing opacity
Use your soft brush and paint over the edges
of our image. You can use any colour you like.
Whenyoure finished, change blending mode
tohue and lower the opacity to 75%.
10
Painting and
adding colour
Create a new layer, use a soft
brush, lower the opacity of the
brush to 54 and flow to 45. Paint
on the model as you can see on
the picture. After that, change
blending mode to Colour Burn
and repeat this step until youre
satisfied with the result.
WorldMags.net
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REVIEWS
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CAMERAS | LENSES | SOFTWARE | GEAR | ACCESSORIES

Hands
-o
tests, f n road
irst lo
oks
and ex
pert
opinio
n
ALL H s
ERE!
90 COOL GEAR
In each issue well bring you a round-up
of gear and gadgets we love. In this issue,
its a Douglas Kirkland treasure, a very
clever lens cap, and much more
92 CANON 1DC
Canon has extended the ability of its
1Dx to incorporate 4K video and 60fps
for full HD
98 FUJINON
XF14mm f/2.8
This wide prime lens for X-mount
cameras delivers contemporary quality
in an attractively retro package
100
JINBEI
DISCOVERY II 600
A portable lighting option that takes
moments to master, yet delivers virtual
studio quality on the go
n Lofty hei
ghts
See page 98
for Ewen Be
lls
adventures
in Cambodi
a with
the Fujinon
XF14mm f/2
.8
102 STACKING UP
How does Tamrons rejuvenated SP
70-200mm f2.8 VC A009 fare against
its more expensive competitors?
104 OPINION
Ewen Bell on the benefits of a less
is more approach to colour fidelity
108 YOUR GALLERY

Works of art from the DP community
114 PARTING SHOT

A last word and image from Ken
Duncans Life is a Journey
n Tamron
70-200mm f2.8
Worth the weight
n Canon 1Dc
4k cine capabilities
n Fujinon
XF14mm f/2.8
X-mount magic
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COOL GEAR
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SNAPPER CAP
Caps off to the entrepreneurial talents of US photographer James Sale!

After brainstorming with an engineer and experimenting with a 3D printer,
hes come up with the very useful Snapper Cap a clever way to store
either a spare memory card or lens wipe right inside your lens cap. Simple.
Genius. And, as Sale says, sure to make you a happy snapper. Its
currently in development, so if youre interested in Kickstarting Sales
dream into reality, check out snappercap.com and facebook/snappercap
Whats Hot
Its a big wide world of photography out there. In each issue well
bring you a round-up of gear and gadgets we love.
DOUGLAS KIRKLAND MONOGRAPH

From one of the most accomplished celebrity photographers of our time comes this
massive tome covering 60 years in the business of image making. And this is no ordinary
coffee table collection of iconic pics: pages and pages of in-depth narrative cover virtually
every aspect of Kirklands career from the very first photo he took at the age of ten,
through his years with LOOK and Life magazines, his now legendary night with Marilyn
(pictured*), his role in the digital transition and on and on and on This is a phenomenal
tribute to a truly remarkable photographer. US$125; douglaskirkland.com
*From A Life in Pictures:

The Douglas Kirkland
Monograph by Douglas
Kirkland, 2013, published
by Glitterati Incorporated;
GlitteratiIncorporated.com
WorldMags.net
COOL GEAR
TAMRON 150-600MM
F/5.0-6.3 DI VC USD
Improvements to lens technology

and build design has have produced
an updated super telephoto zoom
from Tamron. Intended for full frame and
APS-C systems, the new model will be
released for Canon, Nikon and the Sony
A-mount. Weighing in at just under 2kg,
the lens is intended to compete against the
excellent Sigma 150-500mm we reviewed
last year, with a professional tripod collar
and 95mm filter thread. Tamron are using a
new nano-technology to modify the lens
coating for improved chromatic aberration
performance. Ultrasonic focusing and
image stabilisation are also part of the
deal, except for the Sony version which
relies on the cameras built-in IS mode.
US$1069; Tamron.com.au
THE IMPOSSIBLE INSTANT LAB

If you yearn for Polaroid-like prints but love the freedom of your
iPhone, then Impossible have a tool for you. Using the latest
papers from Polaroid, the pop-up box expands to project your
iPhone screen onto the paper and create an 8x8cm printed
image. The product was initially developed from crowd-sourced
funding, following the successful purchase of the worlds
last remaining factory that makes Polaroid film. 250;
The-impossible-project.com
FUJINON 10-24MM F/4 R OIS

This ultra-wide zoom lens for Fuji X-mount delivers the
full frame equivalent of 15-36mm on the APS-C sized Fuji
bodies. Holding a wide aperture of f/4 right through the
range, this modest-sized lens uses a stepper motor to keep
the weight down and all lens movements for focus and
zoom selection is internal to the design. Metal construction
and 14 lens elements are features of the engineering.
US$999; Fujifilm.com.au
LACIE RUGGED 2TB

Popular with photographers on the run, the Rugged series
of external hard drives are built to take a few bumps along
the journey and still deliver excellent transfer speeds. The
2TB capacity is coupled with both USB 3.0 and Thunderbolt
with data rates of up to 127mb/s. Theyre fully powered over
the connection port and require no external power supply.
$350; Lacie.com.au
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REVIEWS
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REVIEW CAMERA
WorldMags.net
CAMERA REVIEW RRP $11,500
Canon 1Dc
Adding 4K video capability to the 1D series gives this
camera a serious case of split personality, sitting
outside the realm of dedicated cinecameras while
delivering motion capture quality that the average
DSLR can only dream of, writes Ewen Bell.
reasonable slice of
TV commercials in Australia
are shot on Canon DSLR
equipment, and even some
clips from feature films where logistics
demand a smaller rig. Following from the
success of the 5DMkII and the 7D, Canon
have taken a bold step forward with the
1Dc by embedding 4K video capabilities
inside their flagship professional body.
We joined DoP Marin Johnson on set
to shoot a TV commercial to see first hand
how far the world of DSLR cinematography
has come. For this shoot we had a Canon
1Dc and their 85mm CN-E T1.3, an
elegantly designed cinelens that typifies
Canons dedication to the market. Efficient
focus pulling and smooth iris control are
melded with the EF mount to produce a
unique range of lenses to suit cameras like
the 1Dc, 5D and EF versions of the C500.
The location for this shoot was inside the
head office of National Australia Bank in
Melbournes Docklands, a wide open space

with a blend of natural light and all manner
of artificial colour temperatures. Marin has
a few softboxes in play to flood his subject
with a workable warmth of light, but
behind him there are patches of the
outside world that are even brighter.
Marin explains, The latitude and rolloff
on the 1Dc is much nicer than on the 5D.
I get to shoot with that full frame look but
still have room to play nicely with the hot
spots in the background.
On this shoot Marin is working in 1080p
HD, rather than drawing on the 4K features of
the camera. Very little footage is shot in 4K at
the moment, for broadcast or feature films.
Few cinemas are enabled to project a 4K
movie and were still waiting for HDTV to be
properly embraced, so in many ways the
move to 4K captures is a little premature.
On this shoot the 1Dc is sending a signal
off camera to a monitor where richer setup
features are enabled. Zebra patterns and
I shoot with that full

frame look but still
have room to play
with the hot spot in
the background
WorldMags.net
CANON 1DC
REVIEW
WHAT WE THOUGHT
Love it:
FUTURE OF 4K
Simply the best video

footage in a DSLR body
Indestructible body design

keeps with the 1D tradition
Like it:
Few people are betting well see rapid movement in

the broadcast arena where 4K TV is concerned, and
the cost of upgrading cinemas to make use of the
technology has slowed the uptake in feature films as
well. It may be that home entertainment drives this
technology first, with affordable TV panels hitting
the market with 4K support. Home movies will never
look the same once we start capturing our life
moments in the new format. Eventually well expect
our internet TV and feature movies to keep pace too.
Loathe it:
WorldMags.net
A few dedicated external

controls would make it far
more cine-friendly
REVIEWS
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REVIEW CAMERA
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The differences
between the
1Dx and 1Dc
are internal.
The 4K feature
is where your
money goes
waveforms to help with exposures are

handled with the additional hardware,
as these features are not native on the
1Dc. Marin can monitor the frames onand off-camera at the same time, a
feature not possible on the 5D model.
At a time when pro cinecameras
are dropping in price and growing
in performance, the 1Dc looks like an
unusual combination. Internally the
1Dc delivers exceptional image quality,
the kind broadcast pros expect, yet
externally it lacks many of the features
that help to harness that ability.
Canon havent done anything
specific to the body that makes it
cine-friendly, says Marin. Its still
100% DSLR and the differences
between the 1Dx and 1Dc are
internal. The 4K feature is where your
money goes, and output is direct to
card only. Taking a 4:2:2 feed off the
sensor is limited to regular HD, so the
camera really is designed to capture
its best on the run.
When shooting HD video the 1Dc
uses the whole sensor and downscales
to the 1080p resolution. When shooting
4K, however, it operates in a cropped
mode that records pixel for pixel. Cinematic
systems operate off the Super 35mm
standard, a smaller frame size than SLR
sized 35mm frames. Using an adaptor, any PL
mount Super 35mm lens can also be used
on the 1Dc in 4K mode. The Canon range
of cinelenses is designed to deliver superb
quality to both the 35mm frame and the
Super 35mm.
Capturing 4K on the Canon 1Dc puts
the internal data path to work. A pair of
CF slots needs to be fed with 90mb/s cards
1DX REVIEWED
Grab a copy of Digital Photography Volume 28 for our review of
the Canon 1Dx. We rated it to be Canons best DSLR to date for
stills photography.
WorldMags.net
CANON 1DC
REVIEW
SAMURAI BLADE
Nothing demonstrates how far professional cinematic workflow
has improved for the DSLR market than the Samurai Blade.
This modest-sized unit takes the raw feed off the sensor and
encodes directly onto hot-swappable SSD drives. It has a fiveinch IPS touch screen to navigate the tool kit onboard, enabling
camera operators to engage focus peaking, verify colour gradings, complete signal
checks before you roll, and access advanced features for reviewing or editing in the field.
Aside from better indexing of clips, the Samurai steps up on capture technology
with full-time code sync features and some clever software to detect dropouts and
rescue frames. Its fast enough to keep up with the high definition feed off the Canon
1Dc and records ten-bit 4:2:2 signals for better results back on the edit desk. Dual
batteries deliver uninterrupted power supply and it all comes in a package that costs
far less than your lens. Atomos.com
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REVIEWS
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REVIEW CAMERA
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or faster to keep pace, and you can expect
to fill a 32gig card in about eight minutes.
Because you cant feed the 4K signal offcamera, the CF slots are your only option
for recording at full resolution.
Comparisons between the Canon 1Dc
and a cinecamera such as the Canon C500
are something of a trap, because this is a
DSLR with a unique feature rather than a
fully bred cinecam. You dont get features
like anamorphic mode, built-in ND filters,
focus peaking or zebra patterns on the
1Dc, or even a tiltable screen. Most of the
configuration controls are hidden in the
menu as well, requiring a little patience
to set up.
On set Marin did see the advantage
of the 1Dc over the better-known Canon
DSLR gear he often sees on a shoot.
Resolution is not what makes it so good;
its the tonal range that comes off the
sensor. Using the full frame sensor at 1080
resolution just looks gorgeous, with the
super soft bokeh of the 85mm CN-E lens
working in perfect harmony.
With a wry smile Marin refers to the
1Dc as a crash camera You can put this
thing inside a car and drive it off a cliff;
itll look pretty good alongside the 4K
cinematics we use for the feature films.
And thats really where the 1Dc stands out
from the pack. Its not the most ergonomic
cinecamera on the market, and there are
other 4K systems for the same price or
lower. What no other 4K camera can match
against the 1Dc is the build quality of the
body for shooting in tough situations.
Documentary filmmakers will know what
kinds of stress their jobs can place on the
gear, and having a camera that will keep
rolling after being run over by a jeep makes
a lot of sense. Seen from the other side of
the fence, there are a lot of
stills cameras on the market
SUPER STILLS
that will shoot video but
Everything you get in the Canon 1Dx is also featured on the
there are no cinecameras
1Dc. For shooting stills, here are the highlights you can expect
out there that can deliver
on the 1Dc:
the stills capability of a
Dynamic range increased to more than 12 stops and holds
through to 3200 ISO
1Dc. This package wraps up
Maximum ISO rolls out to 204,800
both ends of the spectrum
AF system is built around a new high-density RGB sensor
without compromising on
AF coverage is slightly wider in the frame compared to
performance or reliability.
previous 1D models, with 61 individual AF points that can be
Call it a crash camera
grouped or isolated
if you like, or call it a
Three Digic processors in total, with dual Digic 5+ for direct
image handling and one more Digic 4 to support the autofocus
very expensive 1Dx.
system alone.
Its definitely a bit
Carbon fibre shutter mechanism rated to 400,000 actuations
ofoverkill for shooting
and Magnesium Alloy body shell
TV commercials of bankers
Dual CF card slots
in an office, and might
Built-in gigabit networking
well be more than any
Optical viewfinder with electronic overlay for data
2nd generation self-cleaning system to remove dust from
wedding videographer/
the sensor
photographer combination
New user interface to simplify the grouping and access to
will need either. But for
menu options and an inbuilt help menu
60fps of 1080p footage or
Customisable buttons tucked alongside the lens mount and
stepping up to 4K captures,
duplicated for use in both orientations
you wont find a more
Dual controllers give 100% redundancy for both portrait and
landscape orientation
rugged unit to keep your
show on the road.
WorldMags.net
CANON 1DC
CANON CN-E 85MM T1.3 L F CINE LENS

Canon are going all out on the cinematic gear these days, which
includes a dedicated range of cinelenses refined for the job. Smooth
aperture rings allow an analogue response to changing light, a generous
blade count ensures super soft bokeh when working wide open, manualonly focusing offers a wide arc through the range with preset focus
points easy to setup and big cogs to play nicely with professional rigs.
While most cinematography equipment uses a smaller sensor size
than a full frame DSLR, the 1Dc retains the Canon EF mount and hence
cinelenses such as the 85mm T1.3 also deliver on the full frame image.
Thats not a bad thing when shooting at the 4K resolution, especially
as the big-screen digital TVs starts to appear in the lounge room
instead of the cinema. Sitting two metres from a 4K image is a very
different experience to visiting your local cinema.
MARIN JOHNSON
Check out some of Marins work as Director of Photography in film
and television commercials at marinjohnson.com.au
DETAILS
Manufacturer: Canon
Lens Mount : EF
Sensor: CMOS 18MP
Sensor Size: Equivalent to 35mm full
frame at 36x24mm
4K mode: Equivalent to Super 35mm
without downsampling or pixel binning
ISO range: 100 to 204800

Continuous frames: 12fps with
optional 14fps when mirror locked up
Processor: Dual Digic 5+ for images

and single Digic 4 for AF
Rear Screen: 3.2 LCD
Media: Dual CF slots supporting
UDMA 7 speeds to 166MB/s
Connectivity: mini-HDMI, gigabit

ethernet, USB 2.0
Video support: 60fps 1080p HD and

24fps 4K are the highlights
Size: 15.8x16.3x8.4cm
Weight: 1.54kg
VERDICT
The 1Dc is a technological marvel
that extends the ability of a 1Dx to
incorporate 4K video and 60fps for
full HD. Its not a fully featured
cinecamera, but it is the most
rugged DSLR you can buy to shoot
feature film quality footage.
RATING
WorldMags.net
8/10
REVIEWS
REVIEW
WorldMags.net
REVIEW
LENS
WorldMags.net
LENS REVIEW RRP $999
FUJINON
XF14mm f/2.8
A wide prime for X-mount cameras delivers contemporary
quality in a retro package, writes Ewen Bell.
irst glance at this new wide

angle option for X-mount users
isdeceptively modest. It looks
verymuch like the other prime
lenses in the range, keeping the design flare
to a minimum and sticking to the retrostyle
that pervades the Fujifilm range.The 14mm
prime is an important addition to the
Fujinon lens range, offering a fast aperture
of f/2.8 with the equivalent of 21mm wide
angle in DSLR terms.
Until now the best option for shooting
fast and wide on the X-mounts has been
theXF18mm f/2, which is equivalent to
27mm on a full-frame DSLR. We took the
XF14mm for a road trip to see if the
additional wide angle really made a
difference, and if that small degree
ofspeed loss would have an impact.
Consistent with the XF range, the new

14mm still offers the dedicated aperture
ring on the lens barrel, so you can lock in
your preferred depth of field without
having to access the camera itself. A slip
ring conceals the manual focus in normal
operation, but when popped forward it
reveals a depth of field guide to aid your
focusing. Its retro but its useful, and when
not in use its discretely out of sight.
What makes this lens useful for street
photography is the ability to shoot wide
when you step back a little, or shoot close
up when you want to isolate a subject.
Theclose focusing works down to 18mm
soyou can still grab frames of very small
details despite the wide field of view.
Inpractice we found that lens distortion
was well controlled when shooting up
close, and for everything from architecture
to streets to portraits and fine detail,
theXF14mm was a practical option.
14mm wide angle is an interesting
choice for the Fujinon engineers, resulting
in a 21mm perspective on the DSLR scale.
This is wide angle gone retro, a generous
WHAT WE THOUGHT
Love it:
True wide angle

for the X-mount
Optical quality
is superb
Like it:
Retro feel is nice with

good build quality
Loathe it:
WorldMags.net
F/2.8 makes this prime a touch

slow by Fujinon standards
FUJINON XF14MM F/2.8
amount more field of view than the

traditional 35mm enjoyed by
photojournalists in the days of film,
withoutpushing right out to the 18mm
field of view that was once regarded as
ultra-wide. The effective 21mm perspective
is a good choice, allowing more intimacy
than a 24mm field of view without losing
that close-focusing ability.
Having quick access to manual focus
byslipping the MF ring is another nice
touch that found favour in the field. Not
allthe X-mount models by Fujifilm have
quick access to shutting off the autofocus,
and not all the Fujinon lenses do either.
Buying a prime wide angle lens for your
camera is a serious investment, so you
wantto make sure you get one that suits
your shooting style.
DETAILS
Mounts: Fuji X-mount
Focal Length: 14mm (equivalent to
21mm full frame)
Aperture range: f/2.8 to f/22

Angle of View: 91
Minimum focal distance: 18cm
Construction: 10 lens elements in 7
groups with 7 rounded diaphragm blades
Thread: 58mm
Dimensions: 65mm x 58mm
Weight: 235g
RRP: $999
Website: fujifilm.com.au
VERDICT
HEAD TO HEAD
For owners of a Fujifilm X-mount camera, there is now a choice
in prime lenses between the XF14mm f/2.8 and Zeiss Touit
12mm f/2.8. The Fuji option is smaller, lighter and cheaper, while
the Zeiss is superbly crafted and just that little bit wider. While
the price difference is significant between the two lenses, the
wider perspective of the Zeiss will be a treasure for some
photographers and a misfit for others. lenses.zeiss.com
WorldMags.net
Classic style prime lens delivers

exceptional wide angle quality
to match the Fuji X-trans sensors.
RATING
8/10
REVIEWS
REVIEW
WorldMags.net
REVIEW LIGHTING
WorldMags.net
LIGHTING REVIEW RRP $1379
Jinbei
Discovery II 600
A portable flash system designed to let you set up a

studio anywhere you need it, at a price that competes
with AC powered alternatives, writes Ewen Bell.
hen this kit arrived at

our offices, we quickly
popped open the bag
for a look. Only nine
minutes later we were up and running,
wondering whether maybe we should
take time out to read the manual or just
keep firing away. Studio flash gear is
rarely this simple to work with.
We already had a few c-stands in
place and just needed to lock in the
Jinbei strobes, connect some cables to
the power pack and test fire the flashtube.
Popping up the reflectors took less than
30 seconds, and with the familiar Bowensstyle mount it was painless to clip them
onto the strobes. A wireless trigger was
inside the kit as well, designed to read
the sync off your hot shoe rather than feed

through a PC cable. We powered it on, testfired the flashtubes again and pointed the
camera at our subject.
That was the entire setup procedure
in detail. We expect a lot from flash gear
these days, ideally leaving the photographer
to concentrate on the hard part of
manipulating the light to achieve the
desired look. The easier the flash system
is to set up, the more you can focus on
the creative angles.
The Discovery II 600 power pack is the
brains of the kit, where the wireless receiver
is configured and the strobe output
manipulated. Its a well-built unit and
the controls operate with a good tactile
response. The main dial has a press button
n Sweet treats
Shot with a Canon 1Dc;

70-200mm lens; 1/200sec;
f/4.5 @ 135mm; ISO 100
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REVIEW
REVIEWS
JINBEI DISCOVERY II 600
WorldMags.net
Minutes after opening the

bag we were up and running.
Studio flash gear is rarely
this simple to work with
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REVIEW LIGHTING
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to navigate and select your settings. It snaps

in and out with a good response and the
dial itself feels positive with each click.
Earlier versions of the model by Jinbei were
good, but the latest is very refined and
definitely adds to the appeal of the kit.
In addition to housing the flashtubes
and mounts, each strobe also has an LED
modelling light. Theyre bright, effective
and operate at room temperature to
avoid issues with cooking your subject
when shooting in tight. A sleep mode
on the power pack kicks in to reduce
battery consumption, as does a timer
switch for the modelling lamp. All these

features are intended to save maximum
juice for shooting.
Two isolated channels connect to the
strobes with varying power output to each.
The 600W output of the block can be
delivered to a single head, shared amongst
the two heads or asynchronously split, with
400W delivered to one strobe and 200W
to the other. Strobe durations of less than
1/1000th of a second are possible, although
this slows down at the higher outputs.
We also tested the Jinbei 72cm
softboxes, which are designed for speed
of setup rather than compactness of

folding. Sturdy frames and sufficiently
translucent layers ensure a soft and
balanced light source. Colour temperature
from a flashtube is an important detail and
we were mostly happy with the balance
provided by the Jinbei gear. Some colour
variations happen as you dial through the
power output, so your processing of RAW
files may vary a little across the batch or
where the input from each strobe changes
balance between shots.
Any such niggles we had with the gear
is tempered by the fact that the kit is
For a wide range of

scenarios, the two-head
kit will get the job done
n Light touch
Shot with a Canon 1Dc;

70-200mm lens; 1/200sec;
f/8 @ 200mm; ISO 100
SPECIFICATIONS FOR THE DELUXE KIT
n Quick and easy
The TRS Remote Trigger

played happily with every
camera we had lying around
o
o
o
o
o
o
o
Two strobe heads

600w power pack
Output scales from 100% to 7%
Light shaping with Bowens S-type bayonet mount
Voltage works across 110-240V AC
Stands and reflectors included
Custom designed carry pack included
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REVIEWS
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n Let there be light
Light shaping is made easy

with Bowens S-type bayonet
mounts on each strobe
dramatically affordable to buy, and

seriously simple to operate. You dont
get features such as optical triggering or
audio confirmation, but you can achieve
a lot with the kit regardless.
The package reviewed also comes
with a specially designed backpack to
load everything you need for shooting
on-location. The side pockets keep snug
a pair of umbrella reflectors and stands
for basic light shaping, so youll want
to spend a few more dollars to add a
softbox or two and a beauty dish to
round out the kit.
Because the Discovery II 600 system
uses the same mount as Bowens you have
access to a huge range of light-shaping
options and the opportunity to lock into
a system. The extras you buy now may
well prove useful for decades to come,
long after youve upgraded to a bigger
and better power pack.
The lithium Ion battery system is
reasonably light and very practical, likely
to deliver good cycling performance over
the years if you take care of it. Recharge
time between frames is good but not
great when drawing maximum power,
which is a typical limitation when shooting
strobes unplugged.
With up to 600w available to a single
DESIGN HIGHLIGHTS
o
o
o
o
o
o
o
o
o
Super simple operation

Sturdy build quality
Fully detachable cables for safe packing
LED modelling light
Integrated wireless receiver
Safety features inside the electrics
Flexible power output
Interchangeable battery unit
Bowens compatible mount
strobe you can do some good outdoors

work with the Discovery II 600, but it may
not always be juicy enough to overpower
some outdoor scenes when shooting into
the sun. A bigger unit is on the market
with double the power if 600w of output
wont cut it. For a wide range of potential
scenarios, the two-head kit will happily get
the job done.
At the end of a days shooting I packed
away my regular lighting kit and powered
up the Jinbei alternative. Replicating the
look and feel of my conventional kit with
the portable pack was painless, and the
TRS Remote Trigger played happily with
every camera we had lying around. Internal
wireless receivers have made studio flash
work much easier in the last decade, and
with kits like the Discovery II 600 theyre
remarkably affordable too.
WorldMags.net
VERDICT
Portability comes at a price where
studio flash is concerned, but the
Discovery II 600 kit offers exceptional
value for money when entering
into the world of off-camera flash.
Simple to operate and strong on
compatibility, the two-head kit is
worth a closer look. protog.com.au
RATING
8/10
WorldMags.net
STACKING UP TAMRON SP 70-200mm
STACKING UP
Tamron SP 70-200mm
f2.8 VC A009
In each issue, we challenge Brendan Lee, Marketing Manager
at Maxwell International Australia, to pick a product
and defend its virtues against its toughest
competitors. In this issue, its Tamrons standard
bearer: the ever-popular 70-200mm lens.
he Canon 70-200mm
is without question one
of the most popular
lenses in history, for
weddings, action and so forth.
How does the Tamron 70-200mm
stack up against it?
It all depends on what you want
your lens for. Theres no arguing that
optically the Canon lens is superior,
but if I had to put a percentage on
it Id say its maybe ten, 15 percent
optically superior. Which isnt a great
deal, especially when you start to
compare pricing.
In terms of image tests, the only
place where the Tamron seems to fall
down is when its wide open

at f/2.8 just on the edges
youll start to see a visible
vignetting. So if youre using
the lens for portraits, most
people dont mind or dont
even notice it. But if youre
using it to shoot brick walls,
youll tend to notice it there.
Portraits are one thing, but
what about in situations that
involve fast-moving objects?
That is where Tamron does
exceptionally well. There are two bits
of important technology in this lens:
one is the VC, which is the Vibration
n Las Torres, Patagonia
Shot with a Canon 5DMkII;

Tamron SP 70-200mm f2.8 VC
A009 lens; 1/500sec; f/2.8; ISO 400
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STACKING UP
Stiff competition
For comparison, heres a quick snapshot
of Tamrons 70-200mm market equivalents:
Canon 70-200mm
f/2.8L IS II USM
Optics: 23 elements, 18 groups
Length: 197mm
Weight: 1570g
Price: $2700
Nikkor 70-200mm
f/2.8 VR II
Length: 205.5mm
Weight: 1540g
Price: $2800
Sony 70-200mm F2.8 G
Length: 197mm
Weight: 1500g
Price: $2300
n Lily pads
Shot with a Canon 5DMkIII;

A009 lens; 1/5sec; f/22; ISO 400
DETAILS
Tamron SP 70-200mm
f2.8 VC A009
Mounts: Canon, Nikon and
Sony (VC is not featured on
the Sony mount).
Optics: 23 elements, 17
groups
Length: 188.3mm
Weight: 1470g
Price: $1400
Website: Tamron.com.au
n Perito Moreno Glacier
Shot with a Canon 5DMkII;

A009 lens; 1/640sec; f/11; ISO 200
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Compensation; the other is the USD,

or Ultra Silent Drive. So on top of being
super-silent, it is also super-quick to focus.
All the Tamron lenses that use USD really
snap to focus quicker than those without.
Tamrons 70-300mm f/4-5.6 was the
first to have that USD technology, and
that was lightning quick, so this has
definitely kept up the same technology
but in a larger lens.
How does it hold up against the
Nikon version?
When it comes to the Nikon equivalent,
obviously their lenses are always pretty
spot on, and I know that the Nikon is
superior in terms of dealing with light flare
for example. But again, in the instances
where this lens falls around ten percent
short of where its counterparts are, a lot
of those issues are quickly and easily fixed
in post-production. Its really a very viable
alternative for anyone who cant afford the
Canon, Nikon or Sony versions, and the
difference in price tends to be around
40 to 50 percent.
Theres no question that those
photographers who have the money
will tend to buy the Nikon, Canon or Sony
versions and of course I dont begrudge
them that. In fact I think its the wise thing
to do if youve got the money. But if youre
aspiring to that but dont have the money,
youre probably not as far away from
getting a 70-200mm as you think. Youre
just going to get a Tamron instead.
REVIEWS
TAMRON SP 70-200mm
WorldMags.net
OPINION
EWEN BELL
WorldMags.net
True
colours
When chasing natural tones, writes Ewen Bell, the essence to

effective processing of your images is simple: Less is more
n Step by step
Marrying high
contrast with low
saturation and warm
tones can be a very
effective recipe
t doesnt matter if youre shooting

portraits on a Nikon D4 or blogging
food shots on your iPhone, you can
achieve more natural tones with your
images by backing off the saturation. When
first learning the power of processing your
photos, the possibilities are limitless which
is exactly what makes it hard to find your way.
Dropping out saturation is a counterintuitive step for most of us. So much of our
attention is on enriching colours that we
reach for those saturation tools and give
them a good hard grab.
The more you load up the saturation, the
harder it is to get the colours just right. Any
slight misstep on colour balance becomes
exaggerated and you can waste a lot of time
tinkering with the tint in an attempt to bring
the hues under control. Excessive saturation
also adds more contrast and not always in

a way that is helpful.
What is helpful, however, when exploring
processing options and developing a style
you like, is to link saturation with contrast.
Adding contrast affects saturation, and
adding saturation affects contrast. To get a
better idea of their impact, simply grab
your sliders and push them to the far edge.
Recipe for reality

A starting point for natural colours is a
three-step tweak that drops out saturation
significantly, tops up the contrast a little,
then replaces some of the tonal warmth
that is lost with lower saturation. Adding
that little bit of tint helps to warm your
skin tones and bring out the sunshine
in your landscapes. Adding that hit of
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The key to making it work is

to complement softer colours
with harder contrast
contrast helps bring the sharpness to your
black point and highlights, restoring the
definition that gets weakened with less
saturation across the frame.
Just how much saturation to drop out
and contrast to add in depends on the
look youre after. The more you back off
saturation, the harder you can manipulate
the white balance for creative effect. For
something that looks like washed out film,
you can remove saturation until only the
strongest elements retain some colour,
then go hard on the kelvin/temperature
slider to flood the palette with yellow
hues. This fills in the blanks with warmth
and evokes that sense of film gone past its
use by date.
Flowers are typically difficult to get
right with digital gear; richness of just
a few colours is a challenge for digital
sensors, and even a hint of too much
saturation will make it painfully difficult
to get a natural-looking image from your
processing. Too much saturation not only
increases contrast but decreases detail,
which can turn a pink petal into a bright
but monochromatic mess. Stepping off the
saturation allows that detail to come back
and gives you a chance to correct for white
balance to win back a natural look.
Skin tones are especially sensitive to
saturation. Few ladies like to see their face
look like an orange, yet thats exactly what
happens when we over-saturate a portrait
in order to boost the colours elsewhere in
the frame. The ultimate in desaturation is
going black-and-white, and the reason
portraits look so good in the style is the

retention of detail and subtle grey levels
you end up with. When processing for
colour you can still get much of those
benefits by just dropping the saturation.
Another normal
Sitting in front of a computer, we get
bombarded with colours and can end
up with a twisted sense of normal. Social
media websites tend to be brighter than
life; your display may be over-saturated
already; even just watching TV with the
dials cranked for colour can alter your
sense of what looks normal.
When preparing images for your
presentation, on your own website or for an
exhibition or in a book, what matters most is
consistency. If all your images are processed
with a similar feel then they work well
together. Your audience wont necessarily
notice that the treatment is so different,
other than knowing that they like it.
If your treatment style for processing
is more severe, the creative intention may
be more obvious and hopefully becomes
a feature of the image anyway. Being
heavy-handed with hyper-saturation is
rarely a winning strategy, but going hard
in the other direction opens many new
doors to inspiration. Theres more room
to define your own sense of style in the
lower saturations.
The key to making it work is to
complement the softer colours with some
harder contrast. How much is enough is a
matter for your expression. As a starting
point, you should look to ensure that

your blacks are really black, and then
check the levels to see if you need to
harden up the white point as well. Gaps
in the histogram at the black or white end
indicate a missed opportunity to add
sharpness and pop to an image.
Going gentle on saturation is about
fidelity, allowing the true colours to
emerge from the image. Removing
extraneous saturation helps the real tones
to be seen for what they are.
WorldMags.net
n Find your limits
Expressing yourself
well with colour
comes through
experimentation
REVIEWS
TRUE COLOURS
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Facebook.com/tamron.au
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WIN!
Congratulations to Kym, whohas won

himself a Tamron B008 18-270mm Lens
($849, facebook.com/tamron.au) for his
terrific image,Leopard on high alert
all thanks to MaxwellInternational
Australia; www.maxwell.com.au
Joby.com
WorldMags.net
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RUNNER UP
The Spit
by Marc Evans
This was my first photo taken with my new
ND filter, at Southport Spit on the Gold Coast
of its sand pumping jetty. Only post was
cropping, contrast and saturation. Canon 6D;
24-105mm lens; 100sec; f/22; ISO 100.
RUNNER UP
Two drifters (below),
by Paulus Susilo Tjahjadi
I was walking on the overpass above Darling Harbour in Sydney
when I spotted these two people sitting accompanied by two
seagulls! I flipped out the LCD screen to compose as I didnt want
to lean over and put myself at risk of falling. Nikon D5100;
18-55mm lens; 1/250sec; f/9; ISO 400.
WorldMags.net
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RUNNER UP
Fifth Element,
by Danny Briones
One of my NightScapes of the bridge in Ortigas Centre,
Manila, Philippines. Nikon D7000; 10-20mm f/4-5.6mm
lens; 119sec; f/14; ISO 100 focal length 11mm.
WorldMags.net
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RUNNER UP
Crossed fingers, by Tracey Richter
This photo is of my husbands hands. Its not much, but it is my most prized
photo. I shot this while lying in bed watching Patch Adams. I was inspired by
how Robin Williams held his hands during his court proceedings. I asked my
husband to replicate it and just fell in love. He is a heavy-duty mechanic, so
his hands are always work stained. Besides the man himself, nothing makes
me prouder than seeing this image. Nikon D300s; 250sec; f/5.6; ISO 640.
WorldMags.net
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RUNNER UP
Perching fly, by Brett Meara
This is a macro image I took at the Mt Cootha Botanical Gardens in
Brisbane. It was an overcast day with a few showers around, which I
think helped with the number of insects that were sitting relatively still.
Canon 7D; Tokina 100mm lens; 1/250sec; f/8; ISO 100; off-camera flash.
SUBMIT YOUR IMAGES!

Think youve got what it takes to make the
Digital Photography Gallery? Whether youre a pro
oran amateur, email pics to editor@dpmagazine.com.au
foryour chance to win. Each issue, were giving away one
Tamron B008 18-270mm Lens ($849, facebook.com/tamron.
au), plus super cool Ultrafit Sling Straps from JOBY ($55 each,
joby.com). Youcan enter as often as you like. Good luck!
WIN !
IZES
GREAT PR
FROM
TAMRON
AND JOBY
Check us out online at Facebook.com/DigitalPhotographyMag + on Twitter @DPMagAustralia
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PARTING SHOT
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Power &
passion
I loved working
with the Oils because
they had something
to say through their
music The rich get
richer, the poor get
the picture.
Ken Duncan
n Essential Oils
WorldMags.net
Midnight Oil shot by Ken Duncan,

Lake Lefroy, Kambalda, WA. See page 10 for more
T8 Photography
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New Zealand
South Island
Photography Tour
Join Samantha & Tate as they take you on
a photography tour of the South Island of
New Zealand in April 2014
This trip is for enthusiast photographers that want
to take their photography to the next level in a
place that is any landscape photographers dream.
You will receive photography tuition the whole
way through the trip as well as travel to all the
major highlights of the spectacular South Island.
Tuition covers everything from night photography,
macro, nature, and panoramas to the workow
and post processing of your images.
BOOK NOW FOR THE TRIP OF LIFETIME

SPACES STRICTLY LIMITED
t8photography.com/PhotoTours
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EXPLORE NEW
PERSPECTIVES
The GX7 is a game-changer.

The image quality is so good that
I can use it to produce prints of
limited edition quality.
Ken Duncan Iconic Landscape Photographer
Discover a new perspective on photography with the new LUMIX GX7.

Its classic design combined with a tilting viewnder opens up new
angles and possibilities. And, featuring a new MOS sensor and Venus
engine, it delivers superior image quality, incredible speed and
outstanding focus performance.
www.panasonic.com.au
WorldMags.net
PALUMIXGX7002
INTRODUCING THE NEW LUMIX GX7

Digital Photography - Volume 36

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Our greatest ever guide to capturing

re you ready for

these two extraordinarily bold war photographers

Digital Photography: Volume 36

Landscape legend Ken Duncan has more strings to

20 The career makers

Sydneys Stephen Dupont reflects on an image he

26 Going to war with a camera

Adelaides Chris Oaten shares his fascination with

A renowned wildlife photographer and author of

50 The man in the moment

NZ shooter Doc Ross covered the aftermath of the

56 Great Ocean Photos

Wilderness, wildlife and wild oceans make Victorias

Canberra shooter Shanx Bose blends

Slovenian designer Kristina Alegro

Walk with a Pro

Darren Lunny chats with DSLR

Natural Beauty: a portrait shoot

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Printed by C&C Ofset Printing Company

This months round-up of all the

Extending the ability of the

104 True colours

A portable lighting option

How does Tamrons

Ewen Bell on a less is more

While every care was taken during the preparation

Works of art from the Digital

114 Parting Shot

GREAT OCEAN PHOTOS

I needed to get very close to whatever

NATURAL BEAUTY SHOOTING

After capturing my now-famous

KEN DUNCAN (LEFT) PHOTOGRAPHED BY LUKE PETERSON

You know him as one of Australias foremost landscape and

Many people desire riches

Power and passion

I said, Dont do it; dont let go of your big

Mel has been a tremendous blessing to

(left + below) Mel

endorsement, Rob started getting huge

threats. He went to a rally to support Rob

(far left) Can you

If people dont use their

I knew I needed a large format

(far left) Shot

(left) I was able

Wildlife love affair

camera was when three rhinos in

very rare Mamiya 500mm f4.5 lens to

Miraculously, three young

At that point I was ready to give up

chance of being very special. The reward

Laughter is the best medicine

close enough with that sort of gear. After

on strong: The rich get richer and the