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Volume 36
TIPS
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it a l p
hotograph
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How to master
city pictures!
10
lessons
VIDEO
CORNER
Learn from a
DSLR genius
24
GEAR INSIDE
PAGES OF
Canon 1Dc
Fujinon XF14mm f/2.8
Jinbei Discovery II 600
Tamron SP 70-200mm f/2.8
Fujinon 10-24mm f/4
Tamron 150-600mm f/5-6.3
landscape
LEARN EXPERT
TECHNIQUES
Manipulate abstract
textures easily!
Create a hyper-real
HDR composite!
PLUS! Ken Duncan t Douglas Kirkland t Stephen Dupont t Jack Picone t Jan Latta t AND MORE
MANFROTTO FILTERS
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manfrottolters.com.au
EDITORS WELCOME
WorldMags.net
n Kill em all
Shot by Stephen Dupont
in Afghanistan. Turn to
page 20 for more
Editors
welcome
A
Greg Barton
Editor@dpmagazine.com.au
Facebook.com/DigitalPhotographyMag
Twitter: @DPMagAustralia
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DIGITAL PHOTOGRAPHY | 3
Contents
WorldMags.net
Features
10 Life is a journey
34 Looking up
42 True to herself
78
10
84
Tutorials
78 FEEL
84 AWAKENING
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
CONTRIBUTORS
Doug Hall, Corey Middleton, Darren Lunny,
Shanx Bose, Chris Oaten, Kristina Alegro
ADVERTISING
66
68
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
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
92 Canon 1Dc
98 FUJINON
XF14mm f/2.8
Retro wide prime for X-mount
lenses that delivers on quality
100 Jinbei
108 Readers
Discovery II 600
102 Stacking up
Gallery
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DIGITAL PHOTOGRAPHY | 5
Creative
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insights
Broaden your horizons with these inspirational images
6 | DIGITAL PHOTOGRAPHY
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DIGITAL PHOTOGRAPHY | 7
LIFES A JOURNEY
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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.
8 | DIGITAL PHOTOGRAPHY
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DIGITAL PHOTOGRAPHY | 9
FEATURE
KEN DUNCAN
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KEN DUNCAN
LIFES A
JOURNEY
n Elephant, Kenya
10 | DIGITAL PHOTOGRAPHY
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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.
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DIGITAL PHOTOGRAPHY | 11
FEATURE
KEN DUNCAN
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LIFES A JOURNEY
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IMAGES
FARMER MEL
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DIGITAL PHOTOGRAPHY | 13
FEATURE
KEN DUNCAN
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LIFES A JOURNEY
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IMAGES
FARMER MEL
LEOPARD,
BOTSWANA
(left) When I
zoomed right in
on the image, I was
overwhelmed by the
clarity. I had nailed
my first winner.
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DIGITAL PHOTOGRAPHY | 15
FEATURE
KEN DUNCAN
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16 | DIGITAL PHOTOGRAPHY
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LIFES A JOURNEY
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IMAGES
GORILLAS
IN THE MIST,
RWANDA
ZEBRA,
TANZANIA
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.
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DIGITAL PHOTOGRAPHY | 17
FEATURE
KEN DUNCAN
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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
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
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DIGITAL PHOTOGRAPHY | 19
CAREER MAKER
STEPHEN DUPONT
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THE
CAREER
MAKERS
20 | DIGITAL PHOTOGRAPHY
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STEPHEN
DUPONT ,
PHOTOGRAPHER,
ARTIST,
FILMMAKER
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DIGITAL PHOTOGRAPHY | 21
CAREER MAKER
STEPHEN DUPONT
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IMAGE
AMPUTEE
TALIBAN
BURNING
(right) As a
photojournalist,
you cant not show
what youve seen.
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
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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
n Taliban burning
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DIGITAL PHOTOGRAPHY | 23
CAREER MAKER
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STEPHEN DUPONT
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
24 | DIGITAL PHOTOGRAPHY
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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
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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
26 | DIGITAL PHOTOGRAPHY
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WAR
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DIGITAL PHOTOGRAPHY | 27
FEATURE
JACK PICONE
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n Angola Shooting
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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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FEATURE
JACK PICONE
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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
IMAGES
BURMESE
ILLEGAL
IMMIGRANT
THE
LONGNECKS
(left) A Kayan
woman (colloquially
know as The
Longnecks) baths
in a stream on the
Thai-Burma border
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DIGITAL PHOTOGRAPHY | 31
FEATURE
JACK PICONE
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n Novice Monks
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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
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DIGITAL PHOTOGRAPHY | 33
FEATURE
CHRIS OATEN
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LOOKING
IMAGES
TWIN TOWERS
LOOMINOSITY
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LOOKING UP
UP
I
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DIGITAL PHOTOGRAPHY | 35
FEATURE
CHRIS OATEN
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Finding inspiration
Thanks to Facebook, Id been introduced
earlier in 2013 to the breathtaking work of
36 | DIGITAL PHOTOGRAPHY
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IMAGES
BEADED DETAIL
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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LOOKING UP
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DIGITAL PHOTOGRAPHY | 37
FEATURE
CHRIS OATEN
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IMAGES
LOBBY SHOT
LEADING LINES
(below) Shot
with a Canon
5DMkIII; 16-35mm
f/2.8 lens; 1/40sec;
f/5.6; ISO 400
BEST-LIT
BUILDING
GOING DOWN
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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
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DIGITAL PHOTOGRAPHY | 39
FEATURE
IMAGES
POINT,
COUNTERPOINT
PETRONAS
PERSPECTIVE
ESCALATING
WINDOW ON
THE WORLD
CHRIS OATEN
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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
40 | DIGITAL PHOTOGRAPHY
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LOOKING UP
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DIGITAL PHOTOGRAPHY | 41
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
42 | DIGITAL PHOTOGRAPHY
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IMAGE
CHEETAH POSE
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DIGITAL PHOTOGRAPHY | 43
FEATURE
JAN LATTA
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44 | DIGITAL PHOTOGRAPHY
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TRUE TO HERSELF
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IMAGES
GERENUK PAIR
ON HIND LEGS
MENACING
BUFFALO
ON THE HUNT
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DIGITAL PHOTOGRAPHY | 45
FEATURE
JAN LATTA
46 | DIGITAL PHOTOGRAPHY
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TRUE TO HERSELF
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IMAGES
ELEPHANT HERD
ORPHAN
ORANGUTAN
SLEEPY PRIDE
AFFECTIONATE
LIONS
GIRAFFES
KICK FIGHTING
(this page, top right)
Shot with a Nikon
D90; 70-300mm
lens; 1/400sec;
f/5.6; ISO 200
DIGITAL PHOTOGRAPHY | 47
FEATURE
JAN LATTA
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TRUE TO HERSELF
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IMAGES
AFRICAN SUNSET
(far left) Shot with
a Canon PowerShot
G9; 7.4-44.4mm
lens; 1/320sec;
f/4; ISO 80
ENDANGERED
TIGER, MADYA
NATIONAL PARK
(above) Shot
with a Nikon D90;
70-300mm lens;
1/80sec; f/5.6; ISO
1600
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DIGITAL PHOTOGRAPHY | 49
FEATURE
DOC ROSS
IMAGE
STORM CLOUDS
50 | DIGITAL PHOTOGRAPHY
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THE
MAN
IN THE
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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
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DIGITAL PHOTOGRAPHY | 51
FEATURE
DOC ROSS
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IMAGES
TWISTED METAL
EMPTY SHELL
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
52 | DIGITAL PHOTOGRAPHY
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FEATURE
DOC ROSS
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IN THE BAG
IMAGES
DEMOLITION
FRONT ROW
SEATS
ONLOOKERS
LONELY
REMINDERS
HARD AT WORK
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FEATURE
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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
56 | DIGITAL PHOTOGRAPHY
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IMAGE
ICONIC
APOSTLES
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FEATURE
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EWEN BELL
IMAGES
FLAGSTAFF HILL
TEAROOMS
CAPE OTWAY
LIGHTHOUSE
BEAUCHAMP
FALLS
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
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DIGITAL PHOTOGRAPHY | 59
FEATURE
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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
WRECK BEACH
KOALA
SPOTTING
(FAR RIGHT)
Shot with a Canon
1DsMkIII; EF70200mm f/2.8 lens;
1/4000sec; f/2.8;
ISO 800
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.
60 | DIGITAL PHOTOGRAPHY
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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,
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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.
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FEATURE
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EWEN BELL
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Ewens top 10 tips for better
landscapes every time
01
02
03
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
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
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
SPOILT
FOR CHOICE
CAPE OTWAY
ECO LODGE
APOLLO BAY
FARMLAND
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TECHNIQUE
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ASK THE
EXPERTS
Your questions
answered by our
panel of photo
gurus 66
VIDEO
CORNER
TUTORIALS:
PHOTOSHOP
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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DIGITAL PHOTOGRAPHY | 65
ASK THE
Experts
Q&A
Tim Ferguson
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Q&A
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
DIGITAL PHOTOGRAPHY | 67
TECHNIQUE
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.
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TECHNIQUE
VIDEO CORNER
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VIDEO CORNER
n Sony A7R
n Canon 1DC
70 | DIGITAL PHOTOGRAPHY
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VIDEO CORNER
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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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DIGITAL PHOTOGRAPHY | 71
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VIDEO CORNER
72 | DIGITAL PHOTOGRAPHY
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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
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WALK WITH
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DOUG HALL WANTED TO PROVE HE COULD PRODUCE
A Pro
Natural beauty
shooting
A
s a professional
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.
74 | DIGITAL PHOTOGRAPHY
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NEAR YOU, CHECK OUT T8PHOTOGRAPHY.COM + FACEBOOK.COM/WALKWITHAPRO
TECHNIQUE
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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.
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.
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DIGITAL PHOTOGRAPHY | 77
TUTORIAL
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CREATING A
Photoshop
DYNAMIC IMAGE
01
78 | DIGITAL PHOTOGRAPHY
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TUTORIAL
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.
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DIGITAL PHOTOGRAPHY | 79
TECHNIQUE
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SHANX BOSE IS A CANBERRA-BASED PHOTOGRAPHER. HE WORKS IN IT DURING THE DAY
TUTORIAL
DYNAMIC RANGE
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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.
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TUTORIAL
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
10
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DIGITAL PHOTOGRAPHY | 81
TECHNIQUE
07
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TUTORIAL
DYNAMIC RANGE
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11
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
82 | DIGITAL PHOTOGRAPHY
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TUTORIAL
16
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!
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TECHNIQUE
15
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TUTORIAL
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ABSTRACT
Awakening
84 | DIGITAL PHOTOGRAPHY
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TEXTURE WORK
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KRISTINA ALEGRO IS A FREELANCE GRAPHIC ARTIST
TUTORIAL
01
Background
02
Removing edges
03
Adding
adjustment layers
Add the following two
adjustments layers on top.
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DIGITAL PHOTOGRAPHY | 85
TUTORIAL
ABSTRACT PHOTOMANIPULATION
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05
04
Smoothing
skin on the
models face
06
07
86 | DIGITAL PHOTOGRAPHY
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TUTORIAL
08
09
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.
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DIGITAL PHOTOGRAPHY | 87
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M1402DPH
REVIEWS
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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
n Tamron
70-200mm f2.8
n Canon 1Dc
4k cine capabilities
n Fujinon
XF14mm f/2.8
X-mount magic
WorldMags.net
DIGITAL PHOTOGRAPHY | 89
COOL GEAR
WorldMags.net
SNAPPER CAP
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.
90 | DIGITAL PHOTOGRAPHY
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COOL GEAR
TAMRON 150-600MM
F/5.0-6.3 DI VC USD
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DIGITAL PHOTOGRAPHY | 91
REVIEWS
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REVIEW CAMERA
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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
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CANON 1DC
REVIEW
WHAT WE THOUGHT
Love it:
FUTURE OF 4K
Like it:
Loathe it:
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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
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.
94 | DIGITAL PHOTOGRAPHY
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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.
96 | DIGITAL PHOTOGRAPHY
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CANON 1DC
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
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
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8/10
DIGITAL PHOTOGRAPHY | 97
REVIEWS
REVIEW
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REVIEW
LENS
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FUJINON
XF14mm f/2.8
A wide prime for X-mount cameras delivers contemporary
quality in a retro package, writes Ewen Bell.
WHAT WE THOUGHT
Love it:
Like it:
Loathe it:
98 | DIGITAL PHOTOGRAPHY
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DETAILS
Mounts: Fuji X-mount
Focal Length: 14mm (equivalent to
21mm full frame)
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
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RATING
8/10
DIGITAL PHOTOGRAPHY | 99
REVIEWS
REVIEW
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REVIEW LIGHTING
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Jinbei
Discovery II 600
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REVIEW
REVIEWS
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REVIEW LIGHTING
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n Light touch
o
o
o
o
o
o
o
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REVIEWS
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DESIGN HIGHLIGHTS
o
o
o
o
o
o
o
o
o
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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
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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
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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
Optics: 21 elements, 16 groups
Length: 205.5mm
Weight: 1540g
Price: $2800
Sony 70-200mm F2.8 G
Optics: 19 elements, 16 groups
Length: 197mm
Weight: 1500g
Price: $2300
n Lily pads
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
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REVIEWS
TAMRON SP 70-200mm
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OPINION
EWEN BELL
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True
colours
n Step by step
Marrying high
contrast with low
saturation and warm
tones can be a very
effective recipe
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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
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Expressing yourself
well with colour
comes through
experimentation
REVIEWS
TRUE COLOURS
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Facebook.com/tamron.au
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WIN!
Australia; www.maxwell.com.au
Joby.com
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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.
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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.
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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.
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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.
WIN !
IZES
GREAT PR
FROM
TAMRON
AND JOBY
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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
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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.
t8photography.com/PhotoTours
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EXPLORE NEW
PERSPECTIVES
www.panasonic.com.au
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PALUMIXGX7002