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AUSTRALIAN
MAGAZINE
AWARDS 13
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the Year
RIGHT
The rise of digital
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changed the
use of printed
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AUSTRALIANPHOTOGRAPHY.COM 3
In this
issue
36
06
FEATURES
28 Have Kids, Will Travel
Are we there yet? Can we go now?
Believe it or not it is possible to shoot
great landscapes with young kids in tow.
Dylan Toh and Marianne Lim tell you how.
54 Aim High
While high ISO settings offer tremendous
advantages when youre shooting in low
light, there are downsides. Peter Burian
shows you how to get better results when
your ISO is in the thousands.
60 Photobook Club
Its easier than ever for photographers
to produce affordable, high-quality
photobooks. Anthony McKee discovers
a burgeoning photobook subculture and
meets pro and amateur photographers
who are finding new ways to share and
sell their images.
16
77
AUSTRALIANPHOTOGRAPHY.COM
DEPARTMENTS
06 Behind the Lens
How do you capture your own take
on a location thats photographed by
hundreds of visitors every day? That
was the challenge for Dylan Fox on a
recent visit to the Twelve Apostles.
08 Quick Snaps
The latest news and gear from the
world of photography.
28
68
16 Straight Shooter
Sometimes you need to take a picture
at just the right moment,. Darran Leal
tells how instinct kicked in for him on a
visit to an ancient port city.
46
18
COVER
This months cover was shot by Dylan
Toh at Hallett Cove, SA. Two exposures
were taken one for the sky and another
for the foreground and blended in
Photoshop. Canon EOS 5D Mk III,
16-35mm f/2.8 lens @18mm, 0.5s
(foreground), 0.2s (sky) @ f18, ISO 100.
Test of
Time
By Dylan Fox
I captured this photograph in December 2013 on
a quick overnight trip along the Great Ocean
Road. A good mate of mine, Ricardo Da Cunha,
showed me the coastline here and the spectacular
rainforests which line it.We spent our entire second
day in the forest checking out the stunning waterfalls
which were particularly spectacular as it was raining
at the time. At one point we stopped for shelter,
waiting for a heavy downpour to pass, and we heard
a number of trees come crashing to the ground.
The cracking sound they made as they fell was
piercing, and a little worrying!
We planned to shoot the iconic Twelve Apostles
that evening, however we were a little concerned we
would see nothing but grey skies come sunset.
By the time we arrived the skies had cleared enough
and we were treated to some pretty nice light.
For weeks before this trip I had a specific shot in
mind but I was never sure it would be possible as
I had never visited the area. I was fortunate enough
to have the shot come together pretty close to
what Id envisioned. But the real keeper from that
evening was this shot. I had this idea as more of a
backup, in case my original plan didnt work.
Just as the sun was setting I framed this shot,
capturing the last light glowing on one side of the
Apostle.I took two exposures, one for the Apostle
and one for the cloud movement. The movement in
the clouds was an important element. It enhances
the feeling of time and the forces that are always at
work on these icons.
While the Twelve Apostles park is a beautiful
landmark, it has been photographed countless times
so I wanted to do something different. That's always
something people in creative fields should strive
for. Be inspired by others, but always try to create
something unique something that is yours alone.
CANON EOS 5D MK II, 16-35MM LENS. TWO
EXPOSURES BLENDED IN SOFTWARE.
CLOUDS: 61S@ F/13, ISO 50. APOSTLE:
3.2S@ F/8, ISO 50. TRIPOD.
6 AUSTRALIANPHOTOGRAPHY.COM
AUSTRALIANPHOTOGRAPHY.COM 7
Quick
snaps
8 AUSTRALIANPHOTOGRAPHY.COM
www.blackmagicdesign.com/au
Lenses and accessories shown are not included
Blackmagic URSA EF
7,035
Blackmagic URSA PL
7,755
QUICK SNAPS
Secret photos of 1880s Sydney
revealed in new exhibition
Some of the worlds earliest street photographs, capturing many previously unseen
views of Sydney from the 1880s, are on display for the first time in a new exhibition
at the State Library of NSW.
The exhibition Crowd Source presents over 50 rare snapshots of Sydneysiders and
Sydneys bustling streets secretly taken with the worlds first hand-held camera
branded the Detective Camera by amateur local photographer Arthur Syer.
Arthur Syer took candid photographs of ordinary people in everyday situations
which he supplied to illustrators to use as source material to help them create a lifelike quality and characters in their drawings, said exhibition co-curator Margot Riley.
Syers distinctive low angle photographs evocatively capture the buzz of 1880s
Sydney showing the shoe-shiners and fruit sellers, road workers, transport deliveries
and barrow shopping, queues at Circular Quay, children playing, shipping and
scenes at the horses races, said Riley.
Syer crossed into the publishing industry through his artist brother Walter,
who introduced him to internationally renowned English cartoonist, Phil May.
Invited to Sydney by The Bulletin in 1885, May often used Syers images to add
authenticity to the backgrounds for his illustrations, for example drawings of
people at the racecourse.
When the hand-held camera was introduced to Australia in the mid-1880s,
it became a craze much like the smartphone or selfie stick of today, with photographs
for the first time being able to be taken quickly and unnoticed, said Riley.
The State Library holds over 170 original Arthur Syer photographs the most
extensive collection of early Australian street photography known to exist. With the
help of the Flickr community the Library has been able to label many of the images
in the collection.
Crowd Source is a free exhibition at the State Library of NSW until 23 August 2015.
TOP TO BOTTOM
Circular Quay near First Fleet Park; Pyrmont Bridge looking towards the city centre.
Canadian photojournalist Kevin Frayer has been selected to receive the fourth
annual Getty Images and Chris Hondros Fund Award, valued at US$20,000,
while Armenian-American photographer Diana Markosian has won the $5,000
emerging photojournalist grant.
The Getty Images and Chris Hondros Fund award was created to honour Getty
Images photojournalist and two-time Pulitzer Prize finalist Chris Hondros, who
was killed in 2011 on assignment in Libya.
As a long-time admirer of Chris exceptional work and his dedication to it,
winning an award bearing his name is incredibly humbling, said Frayer. I aspire
to use this opportunity to create meaningful photography that would move Chris
in the same way his images reached me and so many others.I am grateful and so
very proud.
Frayer, a two-time Pulitzer finalist and winner of the World Press Photo, is
currently based in China.He began his photojournalism career in 1991 as a young
freelancer in the former Yugoslavia.
Frayer has since documented conflict in the Middle East, including the Gaza
Strip, Iraq, Lebanon, Afghanistan and Libya. After shooting at The Winnipeg
Sun newspaper, in 2003 he joined the Associated Press in Jerusalem, first basing
himself in Gaza City then becoming chief photographer for Israel and the
Palestinian Territories. He then shifted to New Delhi as chief photographer for
South Asia.
In 2013, he moved to Beijing where he joined Getty Images as a contract
photographer.
Established by Christina Piaia, Chris Hondros fiance, and with the support
of his family, the Chris Hondros Fund advances the work of photojournalists who
TESTAMENT IS A COLLECTION OF PHOTOGRAPHS AND
espouse his legacy and vision.
10 AUSTRALIANPHOTOGRAPHY.COM
Ma i n l i n e
Pa ge
2 6 / 0 3 / 1 5 ,
1 1 : 2 6 : 2 8
AM
AEDT
QUICK SNAPS
Nature
Conservancy
photo comp
opens soon
The Nature Conservancy is
encouraging photographers
to embrace nature and
submit their best landscape
and nature photos to The
Nature Conservancy
Australia Photo Competition.
The competition, which runs
from 15 June to 24 July 2015,
will be judged by Queensland-based nature photographer Michael Snedic.
The idea behind TNC photo competition is to encourage photographers across Australia,
from all walks of life, to get out into nature, photograph its beauty and share these images
with the general public, said Snedic, a regular contributor to this magazine. I, along with
TNC, look forward to seeing many wonderful entries in the competition.
FIND OUT MORE ABOUT THE NATURE
More info: www.natureaustralia.org.au
12 AUSTRALIANPHOTOGRAPHY.COM
Every masterpiece
begins with a canvas.
What is a
Graphics Monitor?
While your camera can capture trillions of
colours, computer monitors can only show
around 16 million of these. By contrast, an
EIZO ColorEdge Graphics monitor is custom
built for photographic editing. A wide gamut
and a palette of over 278 trillion colours
reveal natural tones and subtle details that
would otherwise be hidden from view. The
enlarger lens of the 21st century, an EIZO
ColorEdge Graphics Monitor is designed
to faithfully reflect your editing changes and
display your files as they truly are.
To find out more:
www.eizo-apac.com
I find the Eizo monitors to be
honest and provide me with
a true and realistic rendition of
my images, while providing
excellent depth and detail.
Tony Hewitt, AIPP Grand Master of
Photography. www.tonyhewitt.com
AP answers your
photographic queries
Prashphutita
A. Greco
Process in camera
or in computer?
14 AUSTRALIANPHOTOGRAPHY.COM
THINKSTOCK.COM
Lightroom exports
low-res pictures
OPPOSITE PAGE
More of a wow!
factor can be
added to images
with processing;
in-camera or in
post, each has
advantages and
advantages.
LEFT
While downloading
from the internet is
something we all do
on a very regular
basis, sometimes
things do go wrong.
BELOW
Images exported
from Lightroom too
small? Make sure
the Limit File Size
To and Reduce To
Fit checkboxes are
not ticked.
Have a question?
Photography got you stumped? If you have any queries at all relating to photography
or digital imaging please email our correspondent Prashphutita Greco at
qanda@australianphotography.com. Please include your question, along with your
name, suburb, state and phone number. Prashphutita will try to get back to you with
an answer within a couple of weeks.
GOT A QUESTION
FOR Q & A? DROP
US AN EMAIL.
AUSTRALIANPHOTOGRAPHY.COM 15
STRAIGHT SHOOTER
Darran Leal
Shoot while
you can
16 AUSTRALIANPHOTOGRAPHY.COM
ABOVE
Essaouira in Morocco is
a hot shooting location.
A decent time frame
and targeting of the right
opportunities will generally
reward you with great
results. Aperture Priority
mode, 24-105mm lens
@ 35mm, 1/250s @ f/11,
ISO 400, hand held.
AUSTRALIANPHOTOGRAPHY.COM 17
Your
18 AUSTRALIANPHOTOGRAPHY.COM
HIGHLY COMMENDED
AP
SUBSCRIBER
CLUB
PHOTOGRAPHER
Jocelyn Manning
EDITORS COMMENT
This highly distinctive landscape shot really
grabbed our attention. In some respects
it breaks a lot of rules about landscape
photography. Theres no central point to draw
our eye, and no dramatic colours present.
Nonetheless, we were impressed by the subtle
tones, and the unconventional approach.
Jocelyn Manning says, I took this shot at dusk
at Meelup Bay in WA, just as it was starting to
rain. I wanted to capture the movement in the
clouds and water, so I used an ND 400 filter,
DETAILS
Canon EOS 5D Mk III, 50mm f/1.4 lens, 20s
@ f/13, ISO 125. Photoshop used to adjust
contrast and exposure, and several Nik Color
FX filters used to add a subtle vignette and
colour adjustments.
WINNER
PHOTOGRAPHER
Madelin Love
EDITORS COMMENT
Madelin Love, our winner this month, tells
us, This is one photo in a series of panning
shots taken of my daughter playing on
her rope swing. To begin with I was taking
photos from the side, but then I decided
to try swinging her around in a circle with
me in the middle, which is when I captured
this shot. Her expression says it all for me
and although its not completely in focus
I liked the blur of the background as she
spun around. We think Madelins decision
to move her position signalled a great (and
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
DETAILS
Canon EOS 5D Mk II, 24-105mm lens
@ 60mm, 1/30s @ f/8, ISO 100. Post
production in Lightroom, converted to black
and white, increased contrast, highlights
and shadows altered, added a vignette.
AUSTRALIANPHOTOGRAPHY.COM 19
HIGHLY COMMENDED
PHOTOGRAPHER
Andrew Fuller
EDITORS COMMENT
Andrew Fuller tells us, I took my D300 and
24-70mm lens to Victorias Mooney Valley
races (below) one Saturday afternoon, hoping
to capture some candid images around the
course. I soon found myself drawn to the races
themselves, and I thought Id try to test out
my panning technique. I wanted to portray the
sense of furious motion which occurs at the
back end of most races, when the fastest half
dozen or so horses fight out the finish. I set my
lens to its minimum aperture (f/22) to enable a
slowish shutter speed, which ended up at 1/6s.
I also used an ISO of 100 to help keep the
shutter speed down. The slow shutter speed
enabled the blurring of the movement of the
jockeys and the horses whilst the panning added
to the sense of speed by blurring the lines of the
background. All this indicates a sound technical
approach, but we also liked the creative impact
of this shot, which implies furious speed through
the use of blur. We felt this was a classic
example of how the technique can be used very
effectively to produce a great result.
PHOTOGRAPHER
AA Los Banos
HOW I DID IT
This shot was taken at Baler in the
Philippines, one of the best surf spots
in the country. The image was made
after sunrise.
I waited for one strong, perfect wave
and asked my subjects not to move for a
fraction of a second while I got the shot.
DETAILS
Sony Alpha A550, Sigma 10-20mm
lens, 1/2s @ f/20, ISO 200, ND grad
filters, tripod. Levels/contrast, cropped
and sharpened.
DETAILS
Nikon D300, 24-70mm lens, 1/6s @ f/22,
ISO 100.
20 AUSTRALIANPHOTOGRAPHY.COM
PHOTOGRAPHER
Bruce Young
HOW I DID IT
This photograph was taken approximately at 5.20am from
North Head in Sydney. A cruise ship was beginning its
journey down Sydney Harbour to its berth. The ambient
light reflected from the clouds has made for a colourful shot.
DETAILS
Canon EOS 600D, 18-55mm lens, 206s @ f/11, ISO 200,
tripod. No adjustments in post.
PHOTOGRAPHER
Cheryl Profke
HOW I DID IT
This image was taken at dusk during
winter, looking down on the Cultural
Centre busway platform towards
Brisbane CBD. I feel it captures the
beauty of the city, which we often
fail to see in the hustle and bustle of
peak hour.
DETAILS
Canon EOS 650D, EFS 18-135mm
lens @ 35mm, 8s @ f/8, ISO
100, tripod. Adjustments made in
Lightroom 5 to enhance contrast
and clarity.
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
AUSTRALIANPHOTOGRAPHY.COM 21
PHOTOGRAPHER
Keith Barnett
HOW I DID IT
I took this image at my local show just
before dusk in February last year. I felt it
captured the essence of a dodgem ride
fast and furious!
DETAILS
Nikon D800, 20-70mm lens @ 28 mm,
1s @ f/22, ISO 200, tripod. Cropping and
slight changes to highlights, shadows,
and vibrance in Lightroom 5.
PHOTOGRAPHER
David Raff
HOW I DID IT
My wife and I were travelling on the Metro in Paris when we
came across these musicians. I was interested in the way
our fellow travellers were virtually ignoring the musicians,
apart from the occasional cursory glance, as they hurried by
to catch their trains. I wanted to emphasise the difference
between the transitory nature of the audience and the
relative permanence of the musicians. In order to achieve
this I set a slow shutter speed to provide just enough blur
to portray the motion of the travellers. The wide aperture
was used to provide a shallower depth of field so only the
musicians would appear in sharp focus.
DETAILS
Pentax K3, 18-250mm lens @18mm, 1/20s @ f4/.5,
ISO 640, UV filter. RAW file processed in Lightroom 5.
Minor adjustments to exposure, clarity and contrast,
lens correction, cropping, conversion to B&W, sharpening,
slight vignette applied.
22 AUSTRALIANPHOTOGRAPHY.COM
PHOTOGRAPHER
Mark Glancy
HOW I DID IT
Taken at Burleigh Heads, Queensland, on an early
morning and a rainy day. There was no sunrise to speak
of, so I used my tripod within the rocks and a two-stop
ND filter to make the water soft and misty.
DETAILS
Canon EOS 5D Mk III, 16-35mm lens @ 23mm,
15s @ f/20, ISO 100. Adjustments in Photoshop,
cropping, vibrance to sky, sharpening to rocks.
PHOTOGRAPHER
James Vodicka
HOW I DID IT
This was taken at Wahroonga train station in
Sydney as a train passed through. I wanted to
try some long exposure techniques and from
about 200 shots that night, this one was the
keeper. For the speed of the train I found that
about a second was long enough to capture the
light trails, but short enough to leave the shape
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
DETAILS
Nikon D5200, 18-105mm lens @ 18mm,
1.3s @ f/10, ISO 100, remote shutter release.
AUSTRALIANPHOTOGRAPHY.COM 23
PHOTOGRAPHER
Scott Clarke
HOW I DID IT
Taken on a late night run following a storm.
I set up near a rail container hub. I caught
the lights of an empty truck leaving, heading
towards the storm. Adding to the beauty of it
was catching some of Mother Natures fury
in the form of lightning.
DETAILS
Nikon D5200, DX 18-55mm lens @ 18mm,
30s @ f/3.5, ISO 100, tripod, UV filter.
PHOTOGRAPHER
Rob Jury
HOW I DID IT
On an evening in late February, I was walking around
Harts Mill, Port Adelaide, South Australia, trying out
a few settings on my Nikon D750. Im always looking
for abstract subjects to shoot, as well as landscapes,
which are my passion. There are a lot of places
around the Port Adelaide area that have great lighting
and compositions such as the old wool sheds, other
old buildings, ships, cranes, bridges and mills.
I thought that maybe the miniature effect could work
on shots from ground level, as well as from above,
and this is the result.
DETAILS
Nikon D750, 18-55mm lens @ 40mm, 1/3s @ f/5.3,
ISO 1600. Tripod. Miniature Mode.
24 AUSTRALIANPHOTOGRAPHY.COM
How to enter
EMAIL DETAILS
CONDITIONS OF ENTRY
IMAGE REQUIREMENTS
Images must be saved in JPEG format.
Ideal image size is between 30 and 42cm
(on the longest edge) at a resolution of 300
pixels per inch (ppi). A JPEG compression
of 9/12 (or 75%) will keep images to an
acceptable email size without noticeably
reducing image quality.
Win a new EIZO ColorEdge CS230 Photo Editing Monitor valued at $1375!
Thanks to our good friends at EIZO, Madelin Love has won a gorgeous ColorEdge
CS230 Photo Editing Monitor valued at $1375.
While your camera can capture trillions of colours, most computer monitors are
only able to show a fraction of that colour range around 16 million colours. The
ColorEdge CS230 has a library of over 278 trillion colours and can display more than
one billion of those simultaneously, resulting in smoother colour and tonal gradations,
truer images and much more detail.
For around the price of a high-quality lens, the 23in ColorEdge CS230 Photo
Editing Monitor lets you see subtle details and a richness of colour that would
otherwise be hidden from view. Theres also automatic colour adjustment with a
built-in self-correction sensor and ColorNavigator software.
Thats why EIZO monitors are used and recommended by Australias leading photographers and
are the only monitors used for judging the Australian Professional Photography Awards (APPAs).
More info: www.eizo-apac.com
AUSTRALIANPHOTOGRAPHY.COM 25
KIDS,
28 HAVE
WILL TRAVEL
Yes, its possible to shoot beautiful
landscapes with young kids in tow.
Find out how. Are we there yet?
36 SHOOTING SPORT
The best sports photographers
tell stories, reveal emotion and
push creative boundaries. Three
experts tell you how they do it.
44 REAL DRAGONS
46 PROFILE:
PONCH HAWKES
Arts photographer Ponch Hawkes
has seen and photographed
huge social changes. She shares
her story.
54 HIGH ISO
60 PHOTOBOOK 101
PANASONIC
68 TEST:
LUMIX DMC-GF7
Features
GOLD
OAD FREE F
R
NL
W
ON THE
ra l
y. c o
m
ph
.au
www
st
NET
OM
DO
ia n p h oto g
ra
Download Images
Whenever you see this logo, go to our website at www.australianphotography.com and download the free tutorial images
that accompany the article. From the home page go to the how to tab then click tutorial images.
AWA R D
Have Kids,
Will Travel
RIGHT
The beautiful waters
of Vivonne Bay in
South Australia
made for a perfect
backdrop on this
cloudless day. With
baby Charlotte
safely strapped
in and suitably
amused by the
lapping waters,
Dylan Toh sets up
his tripod to get the
shot. Canon EOS
7D, 1/800s @ f/3.2,
ISO 100, polariser.
Curves, contrast,
colour adjustments
in Photoshop CC.
Photo by
Marianne Lim.
28 AUSTRALIANPHOTOGRAPHY.COM
30 AUSTRALIANPHOTOGRAPHY.COM
bedrooms where possible, and we also looked for places that were
reasonably close to areas we wanted to visit. The timing of our visit
in late April meant that shooting at dawn and dusk coincided with
Charlottes usual sleep-wake cycle and fortuitously, the tail end of
autumn colours. We were mindful however, that at the brink of
the New Zealand winter, conditions could be quite cold at times
and we made sure we had enough layers for her to stay warm.
Our general rule was to provide her one more layer than what we
planned to wear, given that she wasnt involved with any activity
during our shoots. Where possible, we wanted to be right on the
doorstep of locations so that we wouldnt have to travel far to shoot
or for a quick getaway if the conditions werent suitable. Examples
of this included Lake Tekapo and Milford Sound, where we stayed
within walking distance of fabulous opportunities. By the end of
the trip, we found that we had settled into a routine of shooting
late dawns and early dusks, commuting during the day to coincide
with nap times and spending some family time together during
wakeful daylight hours. We never considered doing any overnight
hikes with Charlotte simply because of the impracticality of
camping and the likely imposition on other hikers if she were
to have a restless night in a trampers hut. As such I made two
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
LEFT
Marianne Lim: This image was taken
standing on the Glenorchy Jetty, NZ. I tried
to look for a new composition and my eye
kept settling on these trees with their curious
bases. It was such a still evening I opted for a
long exposure to smooth out the tiny ripples
in the water. Canon EOS 5D Mk II, 15.0s @
f/16, ISO 50, tripod. Curves, contrast, colour
adjustments in Photoshop CC.
BELOW
We scouted this location while driving
between Milford and Te Anau in New Zealand
several times, Dylan Toh says. Unfortunately
light did not eventuate as we had hoped, but
Charlotte certainly enjoyed her time out on
this evening. Canon EOS 5D Mk II, 1/100s
@ f/4, ISO 3200, handheld. Curves, contrast,
colour adjustments in Photoshop CC.
Expanding journeys
at any given time. The other option was to shoot while she was
asleep! As a result I began to delve more into astrophotography so
I could shoot uninterrupted and undistracted, at the cost of sleep.
The other issue was the attention span of a growing toddler during
a road trip, with extended our driving periods. As a result, we tried
to plan our trips so that commuting between any two locations
was no longer than three or four hours under normal driving
conditions. When a longer day was warranted, such as travelling
from Glenorchy to Milford Sound (six hours) we included regular
breaks to refresh both the drivers and the child. Generally we add
approximately 50% more time to get to a given location when
travelling with children.
Organise a Plan B
Until the age of two, the farthest we had travelled was New
Zealand. Our biggest trip occurred when Charlotte was two years
old and I attended a work conference in Seattle on the northwest
coast of the US. This gave us a great opportunity to photograph
the pristine landscapes of the Pacific Northwest. During this trip,
we found that having a plan B for poor health is important while
travelling too! Unfortunately we had unknowingly contracted the
AUSTRALIANPHOTOGRAPHY.COM 31
RIGHT
This image was taken on a clear evening after
Charlotte had fallen asleep, says Toh. During
early October the Milky Way was in a good
position over the Haystacks with some zodiac
lighting from beneath. I had one hour to get
these images before a full moon was due to
rise. Each image in the panorama was lit with
a handheld torch rapidly flashing to and fro for
approximately three seconds of each exposure.
Canon EOS 5D Mk III, 30.0s @ f/3.2, ISO
3200, tripod. Thirteen vertical images stitched
with Photomerge, curves, contrast, colour
adjustments in Photoshop CC.
BELOW
The penguins at Curio Bay, NZ, are a noisy
bunch, and after a sleepless night, we went
out in the morning to catch them before they
headed out to sea, says Lim. Charlotte fell
asleep on Dylans back as I tried to catch the
interaction between photographer and subject.
Canon EOS 5D Mk II, 1/40s @ f/2.8, ISO 1600,
handheld. Curves, contrast, colour adjustments
in Photoshop CC.
32 AUSTRALIANPHOTOGRAPHY.COM
flu immediately before our departure and this took its toll during
our first week, where we were literally suffering from cabin fever
at the foot of Mount Rainier, without much of a backup plan for
less physical activities. Once we regained our health, we began
to explore areas as a family with safety in mind given that at every
location Charlotte wanted to be exploring the environment. As a
general rule, if there were any potential safety issues at any given
location, we either did not take Charlotte (one parent would stay
home or at another location with her while the other worked solo),
or we would assess the environment thoroughly and make sure
there was an alternative if it became unsuitable for a child (for
example, rising tides when shooting seascapes). Unless youve
practiced the Twister style positions that are often required to
set up for a shot (with a weight on your back), trying it for the first
time with a wriggling infant on your back is something we would
strongly advise you not to attempt! On this particular trip there
was far more solo shooting combined with caretaker duties than
on our previous trip. At the age of two there were an incredible
number of heart-warming moments during our daytime forays that
we were constantly trying to capture.
As any parent would know, raising a child demands more
time commitment and energy than anything else, either
vocational or educational. We found this to be the case while
Marianne was pregnant with our second child.
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
AUSTRALIANPHOTOGRAPHY.COM 33
Double trouble
ABOVE
ABOVE RIGHT
34 AUSTRALIANPHOTOGRAPHY.COM
In April last year our second child Jaime was born and it
was at the tender age of six months that she undertook her
first photographic family holiday to New Zealands North
Island. As with Charlotte, we did not co-sleep with Jaime,
meaning that where possible we now required three-bedroom
self-catering accommodation! We had previously struggled
to fit our photographic gear and child equipment such as the
carrier, pram and portacot into a rental SUV. For this trip we
hired a Toyota Estima to comfortably fit all of our equipment,
and therefore planned no off-road photographic locations.
We were travelling in October which meant that sunrise
and sunset were before and after bedtimes respectively.
This meant that our routine revolved around family time
during the day and one of us heading off for a solo shoot
before the children woke, or after their bedtime routines
were complete. To maximise our shooting opportunities
we had to research locations as thoroughly as possible so
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
RIGHT
Marianne Lim: This image was taken before the sun rose above
the distinctive Macchapuchhre (the Fish Tail Mountain) on the
Annapurna Sanctuary Trek, Nepal, before we had children. I spent
the night on a rock 4100m above sea level, because at the Base
Camp huts (4200m) my body was suffering from altitude sickness.
This more challenging type of shoot is simply beyond your capacity
when you have young children. Canon EOS 7D, 0.3s @ f/16,
ISO 100, Gitzo tripod. Curves, contrast, colour adjustments in
Photoshop CC.
SEE MORE OF DYLAN TOH AND MARIANNE
LIMS BEAUTIFUL LANDSCAPES.
ULTIMATE
16/04/2015 1:57 pm
AUSTRALIANPHOTOGRAPHY.COM 35
This
Sporting
Life
Theres more to sports
photography than long
lenses and fast shutter
speeds. Rob Ditessa talks
to three leading sports
photographers about the
creative and technical
challenges of shooting our
national obsession.
ABOVE
Luke Feldman of the Queensland Bulls bowls
to Rob Quiney of the Victorian Bushrangers
during a Sheffield Shield match at The
Gabba in Brisbane. This image is one of my
favourites because I saw something the other
photographers seemed not to notice, says
photographer Bradley Kanaris. The point of
difference was in grabbing a moment where
the light and shadow was so interesting and
different, rather than just staying at ground
level and getting the generic action. Its a good
sports pic, but also a good creative image
so its a bit more than just your usual cricket
photo. I saw the shadow and light creeping
across the ground near the cricket pitch so I
decided to get up high and catch the pattern of
the light and shadow together with the action.
Nikon D4, 70-200mm f/2.8 lens, 1/1000s
@ f/11, ISO 1600. Photo by Bradley Kanaris/
Getty Images.
AUSTRALIANPHOTOGRAPHY.COM 37
ABOVE
Super Rugby,
Waratahs vs
Crusaders at SFS
Allianz Stadium.
The Waratahs win a
line out. Taken from
behind the goal line.
Canon 1D Mk III,
EF 16-35mm f/2.8L
II lens, 1/1600s @
f/2.8, ISO 1600.
Photo by Milos
Lekovic.
the light rigging above the ring if the rigging is adequate. In postproduction I like to play around with a variety of software options
and develop my photos into atmospheric pictures. I find boxing
and combat sports in general already have a colosseum, or warriorlike atmosphere to them, but what may not be immediately
apparent to the viewer, and this is what I try to convey in my
photos, is the grace and artistic poise of the fighters themselves.
In most cases in shooting sports, Lekovic reflects, you want
to freeze the action so you catch players in motion, in mid-air,
or a punch landing on the chin of a boxer spraying sweat in all
directions. In balancing out shutter speed, aperture, and ISO, a
key consideration is how much grain (or noise) a photographer
is willing to accept or can work with in post production,
Good etiquette
The three photographers all say sports photographers have to
be mindful of etiquette. In summary:
Make sure you are allowed to be there. Some events will not
allow unaccredited individual photographers or media to shoot.
Ask security staff where you can or more importantly, cant go.
Be polite and tolerant with those working around you.
Stay out of the way of the contestants and do not obstruct the
view of the spectators.
With junior sports make sure coaches, managers and
importantly parents are comfortable with you taking photos.
38 AUSTRALIANPHOTOGRAPHY.COM
remembering that the higher the ISO the more grain or noise is
likely. If you want to portray the speed and power of a sport such as
motor racing, you could need a slower shutter so you can pan and
track a racer to get some in-camera motion blur.
Different sports have different requirements, Wroe notes. Fast
shutter speeds say around 1/1000 to 1/2000s might be important to
freeze a tennis player, but you will need slow speeds of 1/10s to really
emphasise the movement of a cyclist. It comes from experience bur
the overriding question is always, What do I want to show? he says.
Modern sports are often played under lights for the benefit of evening
TV audiences. The trade-off is then in the ISO rating used. Modern
professional-level digital cameras have a very usable range, up to ISO
4000. So for many sports well set a shutter speed to freeze the action,
at 1/1000s, shoot the lenses wide open, say f/2.8 or f/4, and then set
the ISO for a good exposure. I almost always set my white balance
manually using the Kelvin temperature scale.
Long lenses, he says, will get a photographer in tight to any
action, and a shallow depth of field is very visually appealing,
but you can use a range of lenses to make different pictures.
A mid-range zoom, such as a 70-200mm lens, will capture a
wider action scene, a whole scrum, or the full length of a tennis
player. Wroe suggests the lenses you will use always depend on
the positions available and their relative distance to the action.
Indeed, the 400mm f/2.8 lens is one of Lekovics favourites
because it separates the subject from the background and is ultrafast
in focusing. By using other lenses, he adds, you can consider
photographing spectators, reactions from a coach or the players
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
ABOVE
Besart Berisha of the Brisbane Roar celebrates
after scoring a goal during an A-League match
between Brisbane and Melbourne Victory at
Suncorp Stadium, Brisbane in 2012. Besart
Berisha is a great player to photograph as he
always plays with a lot of emotion and when he
scores a goal he always goes off, says Bradley
Kanaris. With Besart Berisha celebrating and
the goalie directly behind him this really tells the
story of the moment quite well. An important
part of the job of the photographer is to have the
picture tell a story.
Nikon D4, 400mm f/2.8 lens, 1/1250s @ f/4, ISO
4000. Photo by Bradley Kanaris/Getty Images.
AUSTRALIANPHOTOGRAPHY.COM 39
RIGHT
BELOW
ICC World Cup match, Australia vs
Sri Lanka, Sydney Cricket Ground,
March, 2015. Sri Lankan Tillakaratne
Dilshan dives to stop a ball hit by
Australian Steve Smith. Canon EOS1D Mk IV, EF 400mm f/2.8L IS II USM
lens, 1.4x extender, 1/2000s @ f/4,
ISO 640. Photo by Milos Lekovic.
and a shutter speed over 1/1000s, and use auto white balance.
He suggests controlling depth of field by setting the aperture
and positioning the focus point on the subject. Remember,
he says, the lower the f number, the more blur there will be
surrounding the focus point. He suggests using auto focus, but
bearing in mind that even with sophisticated auto focusing
systems it will take a moment of time to bring your subject into
focus, so either start tracking your subject a little earlier or preempt where your subject will be and focus on that. Continuous
shooting ensures that you will capture any follow-on action.
The same fundamentals apply to shooting indoors as well as to
outdoors. But Lekovic points out that in shooting indoor sports
you could be working in a confined space and you may not have
much flexibility in moving around or carrying a lot of gear.
Kanaris warns that artificial lighting can make skin tones look
terrible if you do not colour manage them correctly. He suggests
you always do a custom white balance with a white balance disc
40 AUSTRALIANPHOTOGRAPHY.COM
AUSTRALIANPHOTOGRAPHY.COM 41
bring the action into the camera and to fill the frame. My preference is to use
prime lenses for field sports, just because I feel they produce the sharpest
images across the frame, but having said that I do use zoom lenses often, in
particular for boxing and motor racing.
Tripods and mono-pods: Manfrotto 695CX carbon fibre Mono Pod, 2 Manfrotto
035 Super Clamp, 496RC2 Camera Ball Head, 208 Adapter Kit, Oben TT-100
Table Top Tripod
Other:
Black Rapid Camera Straps
f-stop Camera Backpack
2 580 EX II Flash Units
2 Pocket Wizard Plus II transmitter/receivers
Safety cables
3 LP-E4N Batteries
2 LP-E4 Batteries
2 LP-E6 Batteries
Lots of hard drives for storage and backup
13in Mac Book Pro
Favourite piece of equipment?
My favourite piece of equipment is the Canon 400mm f/2.8. This lens is amazing.
Super fast focus and nice bokeh makes the subject really stand out and brings
the action in nice and close. You can easily put a 1.4x or 2x extender on it without
loss of quality. I use this lens regularly for field sports, rugby, soccer, and cricket.
Having said that, I am also playing with the Canon 200-400mm f/4 for soccer and
rugby, only because it allows me the flexibility of zooming out as the action draws
nearer without having to dive for a second camera.
Lucas Wroe
Cameras Bodies: Canon 1Dx, 1D Mk IV, 5D Mk III.
Lenses: 15mm fisheye, 20mm f/2.8, 17-40mm f/4, 16-35mm f/4 IS, 24-70mm
f/2.8 II, 70-200mm f/2.8 IS II, 85mm f/1.2, 100m f/2.8 Macro IS, 300mm f/2.8 IS
II, 400mm f/2.8 IS.
Filters: Polarisers to fit all lenses. Lee Filter kit for specialty plate filters and
bellows hood.
Tripods: Manfrotto 055PROB and heavy duty ball head.
Monopod: Manfrotto carbon
Flash: Canon 580 EX II, Canon 600 EX-RT, Profoto B2 1200w,
Profoto 1200w Monoblock.
Accessories: 48 Eneloop rechargeable batteries, Canon external flash
boosters, PocketWizard remotes, Profoto light modifiers.
Computing: iMac, Macbook Pro, 6TB per year backup drives, 1TB Portables,
Sandisk CF Cards, CF Card Readers, Griffgear laptop hood,
Luggage: Hardigg Storm Cases, Think Tank Rollers, Maxpedtion 5.11 bags
and pouches.
All of my cameras and lenses are Canon. I dont own third-party lenses as
traditionally these are often not quite as high performing, or robust. But I am
interested in the latest varieties, like the Sigma Art Series and some Zeiss lenses.
Favourite piece of equipment?
Every piece has its use, and what goes in the kit depends on the job. To choose
one, it would have to be my 400mm lens. Its a lens that Ive shot with so much
that Ive become intimately used to it. Its like working from muscle memory!
LEFT
January 11, 2015. Milos Raonic dives to return a volley at the Brisbane International.
Canon EOS 1Dx, 70-200mm f/2.8 IS II lens, 1/1250s @ f/2.8. Photo by Lucas Wroe.
42 AUSTRALIANPHOTOGRAPHY.COM
ABOVE
November 2, 2013.
Peter Sagan pushes
his way through the
field at the Subaru
Australian Open
Criterium. Canon
EOS 5D Mk III, 2470mm f/2.8 II lens,
1/15s @ f/11. Photo
by Lucas Wroe.
AUSTRALIANPHOTOGRAPHY.COM 43
IN THE WILD
Living
Dragons
The giant Komodo Dragons are the largest lizards on
the planet, found only on a small group of islands in the
Indonesian archipelago. Theo Allofs closed in on them
for a remarkable photographic assignment.
AUSTRALIANPHOTOGRAPHY.COM 45
Shooting
Through Time
Veteran self-taught
photographer Ponch Hawkes
has seen dramatic changes in
her craft over several decades,
but she tells Robert Keeley
shes still keen to pursue her
distinctive images of the arts
world, as well as other genres.
AUSTRALIANPHOTOGRAPHY.COM 47
48 AUSTRALIANPHOTOGRAPHY.COM
Exciting days
ABOVE
An image from
the series Risk
3 Acts, Beyond
Commitment,
a Landscape
of Wounds
and Shattered
Expectations.
Hawkes says the
image illustrates the
perilous nature of
circus daredevils.
Performer Matt
Wilson jumped 15
metres from a roof
truss to a crash mat
below. Taken at the
Circus Oz blue
cabaret show at the
Adelaide Festival
and made on
transparency film.
Hawkes says this
was a lucky shot.
OPPOSITE PAGE
Mimi and Dany,
from the
series Our Mums
and Us, 1976.
AUSTRALIANPHOTOGRAPHY.COM 49
ABOVE
Pedro, on site at a
private school in
Melbourne clearing
asbestos from an
old school building
in 40-degree heat.
Hawkes taped
some white paper
to a wire fence
and the workers
came out briefly to
be photographed
during a break.
Canon EOS 5D Mk
III, 100mm lens.
These things happen when youre young. And you just think
thats what happens. I didnt understand that this might happen
once or twice in your lifetime.
Fortituously, Hawkes was getting paid for her work, though she
says the money was never a priority. We didnt earn a lot, but it
seemed like a fortune, she says. Then the pioneering Australian
book publishers McPhee Gribble encouraged her to produce
work, and she had a few titles released through the eighties.
Becoming a photographer
50 AUSTRALIANPHOTOGRAPHY.COM
not win, though her images were selected as one of the finalists.
The upshot was that she won a Fellowship to the National Sports
Museum at the Melbourne Cricket Ground. She produced a
series of images which later appeared in the foyer of the iconic
ground, in an installation created to resemble a temple, titled
Eros, Philos and Agape. The images explored the role of love
in sport, from parents supporting their kids at grass-roots level,
to the passion of top-level sport with coaches, friends and
teammates. Shes created an interesting series about netball with
an element of role reversal, and she has shot the Masters Games,
where she took 100 portraits of mature-age competitors.
Hawkes has also worked at times with the not-for-profit
MAP Group, initiated in Australia by veteran documentary
photographer Andrew Chapman. The loose group of around
40 shooters takes on projects of social significance, and they
often turn up at country towns to shoot a range of people and
activities in these communities. Working for MAP, Hawkes shot
a series of images of orchid growers from the Orchid Society of
South Gippsland. I contacted them and it took 10 minutes to
AUSTRALIAN PHOTOGRAPHY + DIGITAL JUNE 2015
ABOVE
Nine pairs of
acrobats on Albury
Station, for Mining
the Collection
Albury Gallery/
Museum, NSW.
52 AUSTRALIANPHOTOGRAPHY.COM
RIGHT
He Should Never Have Worn Those Shorts. Hawkes was a finalist
in the Basil Sellers art prize. She shot a series of four images, shown
as one metre square durotrans on lightboxes. Hasselblad mediumformat camera with 80mm lens. For this set up tungsten lights were
used in a motel room.
BOTTOM
A young woman who had just finished the Melbourne Big M marathon
event. Shot with Tri-X film and a 50mm lens.
LEFT
From the series More Seeing Is NOT Understanding. The series
drew on, memories of chance encounters and ambiguous glimpses,
says Hawkes. Hasselblad medium-format camera with an 80mm
lens. Provia ISO 400 transparency film.
AUSTRALIANPHOTOGRAPHY.COM 53
Aim
High
While high ISO settings
let you make well exposed
images in low light, there
are downsides. Peter Burian
explains how to shoot
better photos when your
ISO is in the thousands!
the cameras menu. You can also use Noise Reduction software
later to gain a valuable benefit: as a tool for minimising
each type of noise individually, to achieve the best overall
effect. Typically, youll want to use a much lower level than
default level for Luminance NR in the software to prevent an
excessively smooth (or mushy) effect.
ABOVE
High ISOs help in
low-light scenarios.
For the best image
quality at high
ISOs, though, its
worth shooting in
Raw and applying
noise reduction
tools in your
Raw processing
software.
AUSTRALIANPHOTOGRAPHY.COM 55
RIGHT
When shooting
JPEGs at very
high ISOs, avoid
setting a high
noise-reduction
level in camera, or
especially a high
level of luminosity
noise reduction
in the imaging
software, because
it will produce an
unnaturally smooth
effect (top). A more
moderate level of
noise reduction
(centre) produces a
better compromise
between an
acceptably smooth
image and high
definition of
intricate detail.
If you use no noise
reduction at all
however, the image
may exhibit very
prominent digital
noise (bottom).
(ISO 6400)
OPPOSITE PAGE
High ISO settings
are useful if you are
shooting fast action.
As you increase the
ISOs you will find
that you can choose
progressively faster
shutter speeds to
freeze the action.
56 AUSTRALIANPHOTOGRAPHY.COM
ABOVE
OPPOSITE BOTTOM
OPPOSITE TOP
Whether you use the Raw converter that came
with your camera, or an aftermarket program, its
worth experimenting with the settings for noise
reduction. Typically, youll get the best results
by setting luminosity noise reduction at a very
moderate level and using a moderately high level
of chromatic noise reduction.
While the name of the menu item can differ,
all recent cameras targeting photo enthusiasts
provide at least a few options as to the intensity of
High ISO noise reduction. Youll usually find this
feature in the Setup or Custom Menu.
AUSTRALIANPHOTOGRAPHY.COM 59
PhotobookClub
New technology has
opened up a world of
publishing options for
photographers keen to
see their images in print.
Anthony McKee explores
the rapidly growing world
of photobooks.
60 AUSTRALIANPHOTOGRAPHY.COM
Internationally renowned
Australian photojournalist
Stephen Dupont made his
first photobooks in 1994.
These days he is still making
hand crafted books with the
help of Momento Pro. The
books are usually limited
to editions of just five or 15
copies, or in some special
cases just one single
book. The book Dupont is
holding here is Why Am I
A Marine? from a special
edition of five.
AUSTRALIANPHOTOGRAPHY.COM 61
ABOVE
While the venue
was not large
for Melbournes
photobook fair,
there was a
steady stream of
enthusiastic visitors.
ABOVE RIGHT
Sarah Pannel
shows off her first
self-published
photobook.
OPPOSITE
Self-published
photobooks can be
printed to a very
high standard.
Cost effectiveness
62 AUSTRALIANPHOTOGRAPHY.COM
A new culture
AUSTRALIANPHOTOGRAPHY.COM 63
OPPOSITE PAGE
Sydney based advertising photographer
Simon Bernhardt has so far selfpublished two books, and both have
made a profit. Bernhardts first book
Polaroid Holiday, was targeted at 13-25
year olds with an interest in Polaroid
camera photography. It sold 4000
copies over three years. Berghardts
second book, Gateway (pictured) is a
collection of 16 portraits of recreational
marijuana users; 50 copies of the book
were printed by Momento Pro and sold
for $125 each.
64 AUSTRALIANPHOTOGRAPHY.COM
safe and use a digital off-set printing press or do you get your
book published using the traditional off-set press method?
With a digitally printed book you can make one copy,
a hundred or a thousand copies and the unit price is always
going to be moderately static, if a little on the high side.
With a traditional offset press, the set-up costs are
significantly higher, but the unit cost per book drops
significantly once you get past the first thousand or so books.
If your book has a price-point of $40, but it has cost you $35
to print digitally, you are only going to make $5 profit on
each book, and there is no way you can really entertain a
distributor or retailer in the deal.
If you were to print 2000 copies of the book on a traditional
press, you could get the unit cost down to $10 a book, and
this might look like $30 profit for you, but chances are youll
need to distribute this book through retailers, and they will
want their 40 percent on each book sold. That leaves you
with $14 profit on each book. That still sounds great until you
realise you still need to sell 1430 copies of the book to recover
the initial $20,000 cost the off-set print run, and it is as you
start selling the remaining 570 books that youll actually start
making money on the project. This is the reason why so many
photographers would actually love to produce their own book,
and yet if they cant get a publisher, and they cannot afford to
fund the project themselves, the books usually remain a dream.
Creating success
ABOVE
Louisa Hawsons
first book, 52
Suburbs started
off as a blog post
exploring suburbs
of Sydney, before a
publisher suggested
she could make
it into a book. For
Hawsons second
book (pictured),
she explored 52
suburbs in a journey
around the world.
RIGHT
At international
festivals, its
not uncommon
for two or more
photographers to
share the cost of a
display table.
66 AUSTRALIANPHOTOGRAPHY.COM
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Panasonic
Lumix DMC-GF7
Small can be beautiful, and
still effective. Anthony McKee
reviews this smaller, but more
highly optioned nifty FourThirds camera.
68 AUSTRALIANPHOTOGRAPHY.COM
s a documentary style
photographer Im more
interested in photographing
people other people, than
myself! So when I was asked to review a
camera designed, among other things,
to photograph selfies I was a little
concerned. Would this camera survive
testingon me?
Specifications
Sensor: 16-megapixel Live MOS
Four Thirds.
Results
HANDLING
FEATURES
The most appealing feature of this camera is its compact form and
minimal control layout. Unlike many cameras, this has a modest
layout and yet its still capable of good control options via the
cameras 3in (75mm) touch screen. The selfie option is going to
appeal to younger users, but the rest of us will just enjoy it as a
handy LCD screen.
EXPOSURE
Intelligent Exposure gets the image right most of the time. Turning
the camera onto any of the other exposure modes, including manual
mode is still worthwhile though, particularly if you are the thinking
type of photographer.
IMAGE QUALITY
Small cost, but the GF7 is actually very capable. At $699 including a
lens, this camera is a little dearer than some compact cameras, but
its Four Thirds sensor will deliver quite a bit more quality.
FINAL WORD
The Panasonic Lumix DMC-GF7 is not going to replace your main camera,
but its an ideal sidekick. Its small
enough to carry everywhere, and
SCORE
with an amazing range of lenses to
GOLD AWARD
choose from it is a versatile street
and travel camera.
8.6
AUSTRALIANPHOTOGRAPHY.COM 69
APS GALLERY
With Ron
Willems, FAPS,
AFIAP, FPSNZ,
ARPS
Labour
B
of Love
70 AUSTRALIANPHOTOGRAPHY.COM
CLOCKWISE
FROM LEFT
De Chelly Light
Play; City Cyclists;
Classic New
Zealand Holiday;
Trombone.
AUSTRALIANPHOTOGRAPHY.COM 71
APS GALLERY
FROM RIGHT
Encasement;
Palouse Salt
Barn; Montana
Mountain Goat.
72 AUSTRALIANPHOTOGRAPHY.COM
APS FOCUS
So Much
With Graham
Burstow
To See
I
ABOVE RIGHT
Architecture offers
great raw material
for photographers,
and its the inner
city suburbs of our
major capitals
which can
frequently provide
the most variety.
73
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Now theres another way to get feedback on your images. Were now offering an online version of Image Doctor at
www.australianphotography.com, moderated by professional photographer Anthony McKee. Submit an image and find out
what youre doing right, what youre doing wrong and, most importantly, what you can do to improve your photos. To upload
an image go to www.australianphotography.com and click the image doctor tab on the home page.
IMAGE DOCTOR
Creative thinking
IMAGE DOCTOR
Go for vertical
AUSTRALIANPHOTOGRAPHY.COM 81
IMAGE DOCTOR
Sharpen up!
Paul Elmer says: I have been practising with a neutraldensity filter so I can draw out the shutter speed to create
ghostly images of moving objects with static background,
but also to achieve richer colours during harsh sunlight,
like this photo of the Indian Pacific locomotive. I love
the flaking paint and dead insect collection. This shot is
definitely not sharp on the left and it needs to be sharper
for those insects to be clear. Try shooting at an f/8 or f/11 or
f/16 aperture, with your camera on a tripod. This is quite
a contrasty situation, and the side of the train on the right
doesnt have a lot of information or detail. You could also
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