DEPTH OF EXPERIENCE ROCKIN' ALL OVER THE WORLD - WINTER IN HOKKAIDO THE RIGHT PHOTO PAPER AUTOFOCUS CONTROLS NPG PORTRAIT PRIZE - PHOTO REVIEW
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photoreview.com.au Winter 2019
Depth of
experience
Geoff Comfort
Rockin’
all over the
world
Dara Munnis
$12.95 incl. GST
Issue #80
Winter in Hokkaido
I S S N 1839-5899
The right photo paper
I S S N 1839-5899
Autofocus controls
NPG Portrait Prize
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Looking for pictures
T
his editorial started to coalesce in my Slipping back into Technical Editor mode,
mind while I was seated in a dentist’s FOR THE VERY LATEST Margaret digs into the details of in-camera
chair. As he busied himself with the PHOTO NEWS AND REVIEWS focus control options in the second of her
instruments he’d need for our subsequent – as it Our Newsletter
three-part series on the technology behind our
were – interaction, the dentist, the hygienist and I www.bit.ly/prnewsletter cameras’ autofocus systems. If you’ve ever
chatted about matters photographic. As a picture- On Twitter
wondered what exactly focus points, focusing
taker himself, he has more than a passing interest www.twitter.com/photoreview areas and focus modes are all about, Margaret
www.twitter.com/mr_realsurf
in the finer points of photographic practice. will give you the wherewithal to tweak your
His office, I should add, has a nice view Our RSS feed
camera’s autofocus system to perfection.
www.photoreview.com.au/rss/list
down one of those urban canyons that are When it comes to matching an image with the
On Facebook
characteristic of all big city CBDs. It was a lovely most appropriate printing media, photographers
www.facebook.com/photoreview.au
day outside, with picturesque clouds appearing are confronted with a vast array of options where
On Instagram
now and then in the little notch of sky visible www.instagram.com/photoreview.au the paper is concerned. As a skilled printer herself
from the chair where I now reclined, sporting a and as an author of Pocket Guides on the topic,
pair of dashing protective dark glasses. Margaret has the direct experience and breadth
Our pre-procedure conversation drifted onto of knowledge to succinctly set out the key
the topic of the ‘photographic eye’ – who had it, pictures even while waiting for the dentist, I was, decision points you’ll need to have in mind next
who didn’t and how one might improve one’s own. to borrow a musical metaphor, practicing my time you’re pairing an image with the right paper.
As it happened, I’d only recently finished scales. Looking for interesting pictures – even My brother once memorably described
the Inspiration profile on Geoff Comfort when you aren’t carrying your camera – should the typical amateur video recording as being
(see page four) and something he’d said about be reflexive for anyone interested in cultivating ‘write-once, read-never’ media. Happily, even
cultivating the habit of looking at the world their photographic eye. if you only occasionally shoot video, the state
‘photographically’ no matter where you were Speaking of matters musical, writer, of modern video editing tools is such that
and what you were doing, came to mind. photographer and working musician Steve you really have no excuse not to knock your
But before I could share the thought with Packer’s Inspiration profile for this issue is Dara footage into a presentable state. Following on
my dentist, he had me bite down on a fibrous Munnis, a musician turned photographer of from last issue, Margaret Brown provides a
cylindrical object with a faintly minty flavour. musicians (see page 14). Standing out in the comprehensive overview of the decision making
So, while waiting for the topical anesthetic to hyper-competitive music photography business process you’ll want to go through before tackling
diffuse into my gum, I studied the street scene it unsurprisingly turns out is not easy. Along your first editing project.
visible below my dental aerie. The light was with a selection of his vivid work, Dara was also Finally, as you’ll have noticed, we’ve used
doing wonderful things; raking across facades, happy to share some practical advice for aspiring the occasion of our 80th issue to update our
playing cat and mouse with pedestrians, performance shooters. masthead with a fresh new look courtesy of our
reflecting from one side of the street to the Striking a seasonally appropriate note, talented designer, Melissa Kallas. Naturally we
other and generally creating a constantly Margaret Brown’s Locations feature takes us to hope you like it as much as we do!
changing set of potential pictures. the fairytale snowy wonderland that is Japan’s
Now I’ve no idea if any of those untaken Hokkaido in winter. Along with her beautiful
pictures would in fact have measured up as images, Margaret covers off the practicalities Don Norris
interesting images. But that isn’t the point. of accommodation and transport for winter Editor
What mattered was that by looking for possible visitors to the country’s northernmost island.
National Archives, Mitchell, ACT. Image: Geoff Comfort
CONTENTS
Inspiration location insider
19
4
Depth of experience
From boat builder to AIPP Grand Master
of Photography, Geoff Comfort shows
how to cultivate the habit of looking at
29
the world ‘photographically’.
28
14 Winter in Hokkaido
Rockin’ all over the world Japan is one of the best places in the
Along with a selection of his vivid world for photography and its northernmost
music photography, Dara Munnis shares island Hokkaido provides a wide range of
some practical advice for aspiring appealing subjects.
performance shooters.
36 42
24 Going for cold
NPPP 2019 Courtesy of Olympus 40
The National Photographic Portrait Prize Lisa Michele Burns travels from the freezing Understanding autofocus
promotes the best in contemporary depths of a Finnish winter to warmer climates – Part 2
photographic portraiture by both professional and into the eyes of a magnificent South We investigate AF point arrays and the modes
and aspiring Australian photographers. African lion. and adjustments most cameras provide.
photoreview.com.au Winter 2019
Depth of
experience
GEOFF COMFORT
Rockin’
all over the
world
On the cover
DARA MUNNIS
$12.95 incl. GST
Issue #80
Photograph by Dara Munnis
Tash Sultana
WINTER IN HOKKAIDO
I S S N 1839-5899
THE RIGHT PHOTO PAPER
I S S N 1839-5899
AUTOFOCUS CONTROLS
NPG PORTRAIT PRIZE
2 #80 photoreview.com.au
Technique competitions
subscribe TO WIN
See page 50
net effect
47 60
45 56
Working with video footage Image Review
Tips on computer set-up, monitors, software, Selected images from Nino Xerri, Blane
editing, using 4K for stills, and how to Coulcher, and Mark Ditcham, plus your chance
to win a Fujifilm mirrorless camera.
produce enjoyable movies. 64
51 60
Photo Challenge 64
Choosing suitable Recommended sites
Winner and runners up for our Repeat
printing papers Yourself Challenge, where readers were There are an estimated 1.67 billion
How to select inkjet printing media that will asked to photograph repetitive patterns in websites online right now – but these six
complement your images. the natural world. are actually interesting.
Editor Subscriptions All content in Photo Review Australia is protected under
Don Norris | dnorris@photoreview.com.au One year $39 including GST and delivery in Australia. copyright and cannot be reproduced in any form without
See page 50 this issue or phone: (02) 9948 8600 written consent from the publisher.
Technical Editor
or visit www.photoreviewmag.com Photo Review Australia is published by
Margaret Brown | mbrown@photoreview.com.au
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Contributor
contact@photoreview.com.au
Steve Packer
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Depth
of experience
From boat builder to
AIPP Grand Master of Photography.
Don Norris
Building details, ANU Mt Stomlo Observatory, Canberra, ACT.
6 #80 photoreview.com.au
INSPIRATION
L
ong before he became a professional and after a couple of months wondered why
photographer, Geoff Comfort was a they weren’t assisting on fashion shoots in the
competitive dinghy sailor. Bahamas or somewhere like that.
‘When I finished school, I had a short stint in ‘The course CIT ran then was very technical,
the public service, but felt dissatisfied there. and because of my boat building background I
I left that position and started my boat building quite enjoyed that side of things.
career which tied in with my involvement in ‘It didn't teach me a lot of creativity,
racing sailing dinghies,’ he explained. For the first because the course was based around training
20 years of his working life he raced and built photographers for government departments that
boats. ‘I didn't have much interest in photography employed photographers and had in house
before that. But then I did a black and white processing and printing facilities. When I
photographic course, and that inspired me to was studying at CIT in the early 1990s, if you
think about changing my career, getting out of wanted to learn about the art of photography,
my boat building business. you would've gone to the Australian National
‘Some aspects of boat building aren't that University School of Art. They would've taught
nice, especially the fiberglass. I was living in you about being an artist, but you wouldn't
Sydney then, but at that stage in my life, I had have had a terribly good grasp of the technical
a mortgage and there's no way that I could aspects of photography.’
get a job as a photography assistant in Sydney While many of the tools he mastered at
– and study.’ CIT (4x5 and medium format cameras for
So, Geoff moved back to Canberra where instance) are no longer relevant to most
his parents lived and enrolled at the Canberra modern commercial photography, there was
Institute of Technology. ‘While I was studying, one area of expertise that proved very helpful
I did some boat repair work to pay the bills,’ when digital burst on the scene.
he said. But that era of his life was drawing Working with colour transparency film
to a close. requires very precise exposure calculations
‘Towards the end of my studies I bought a because the material has a very limited
small studio, and started to get some paying exposure latitude. You must get exposure
jobs. When people started to pay me, that's exactly right every time. ‘People who learnt to
when I thought that this could be a viable photograph on colour transparency made the
business, it's something I'd like to do. I'd like switch to digital very quickly and very cleanly,’
to earn money doing this.’ said Geoff. ‘People who shot on black and white
Getting into photography as a (comparatively) or colour negative film weren't always able to do
mature age student meant that he had something that. Often your poor exposures would be fixed
of an edge. ‘Very few people finished our three at the processing lab. But when you're shooting
year course,’ he said, ‘probably because they in colour transparency, the exposure had to be
were mostly young kids who came in from school, extremely accurate.’
Left: Building detail, Brindabella Business Park, Canberra, ACT.
#80 photoreview.com.au 7
INSPIRATION
‘When people
started to pay
me, that's when I
thought that this is
a viable business,
it's something I'd
like to do.’
8 #80 photoreview.com.auAerial photo, spring blossom, National Arboretum, Canberra, ACT, 27 September 2017.
#80 photoreview.com.au 9INSPIRATION National Arboretum, Camberra, Voices in the Forest, 12 November 2011, for the ACT Government. 10 #80 photoreview.com.au
INSPIRATION
‘People who learnt to photograph on
colour transparency made the switch to
digital very quickly and very cleanly.’
‘I know there are a lot of images constructed emphasis now, especially for beginners. as possible and understand that this can help
and corrected in post-production - but if you We want our students to try and create a good your photography,’ he said. ‘And it's not just
want to be recognised as a photographer, I think photo using the camera in a semi-automatic photography. It's paintings, it's sculpture, it's
you need to get the best possible image you can mode; aperture priority or shutter priority. architecture, it’s film, it's all those sorts of
in camera,’ Geoff said. ‘Otherwise you would Initially, we spend more time on composition things, all of those creative outlets. You need
more correctly call yourself a photographic than on the technical aspects. Now at some to be constantly exposed to it. The very first
illustrator or something like that. I won't say I point, they will find their technical knowledge photographers had a lot of technical difficulties
dislike being at the computer, it is a necessary isn't enough, but at that stage they'll have a to overcome, but they also had a massive
evil to finish the process. The more effort put better grasp of using the camera. exposure to art. They could use that knowledge
into taking the photos in the first place, the ‘Because we launch into composition very for posing and lighting and so on.’
better the end product is, and the more you can early on in our workshops, we initially go Knowing compositional basics and having
make a claim to being a photographer.’ through a set of – I don't like to use the words an awareness of the wider visual arts needs,
The best photographers must, Geoff said, “rules” or “laws” – but of composition ideas and in Geoff’s view, to be coupled with the very
‘have a high standard of visual literacy.’ concepts. We teach about the importance of way in which one looks at things in day to day
Where many fall down, he noted ‘is not on the line, the importance of format, the importance life. ‘When I'm driving around,’ he said, ‘I look
technical aspects, but on the visual reading of of colour, the importance of centre of interest, at things and think about how I could make a
the image.’ the importance of unifying the image, the really interesting photo out of the scenes that I
Along with friend and fellow photographer importance of being able to freeze or blur see. I think one of the things that's driven me to
Ben Kopilow, Geoff runs Better Photo Workshops motion, the importance of depth of field and do that is my enthusiasm for entering photos in
which offers individual and small group tuition so on. Of course, as soon as we say “depth of the APPAs and the state APP Awards.
and mentoring. field”, there's a little bit of technical stuff they ‘There are many, many photographic
Over the years, as the technology has need to learn, but that's the way we ease into competitions around but I think APPA has stood
advanced, the two partners have changed the it. With a bit of experience, they become easier the test of time. It’s probably recognised as
learning paradigm. Now their focus is very much concepts to master.’ being one of the best and toughest photographic
centred upon developing visual literacy. ‘In our Along with the compositional examples competitions in the world. It's certainly the best
early photo workshops, we were really adamant and ideas, Geoff remarked that both he and run. It's a very good judging system, given that
about people having a good understanding of Ben underline the importance of cultivating a it's such a difficult thing to judge photographs.
the manual controls available on a camera,’ wider knowledge of the visual arts. ‘You need It's not like timing a runner with a stopwatch.
Geoff said. ‘But we've gone away from that to expose yourself to as much art and design It's far more subtle than that.’
#80 photoreview.com.au 11INSPIRATION
Data Centre, Canberra, ACT, 17 April 2017.
‘We spend The discipline of creating work worthy of
placing before APPA’s flinty-eyed judging panels
awards, because it's just not interesting enough.
Commercial briefs can be quite limiting. If the
more time on
is something Geoff’s been imposing on himself opportunity arises, I will always try to create
for many years. ‘When I was a student at CIT, at least one ‘silver image’ for my clients, even
I entered [the APPAs] and I've entered them every if it falls outside the brief’ he said, explaining
composition than year since – both at ACT level and national level.’
Noting that he’s been setting himself the
‘There's a very high standard of photographic
craft required in the APPA Awards, and those
on the technical challenge of competing in the awards for over
25 years now, Geoff said that in that time he’s
photos are examined with far more intensity than
most clients would ever do. We're always trying
aspects. ’
noticed an interesting phenomenon. ‘It's pretty to create better and better images there, with a
hard to come up with something new each year, greater sense of depth of narrative, than perhaps
and every year there's a raft of images that are client photos need to have.’
copies of a successful style from the year before Conceding that the typical category-winning
– and generally they don't get scored very well. APPA image is probably too complex and nuanced
You really have to try and be in front of the mob to appeal to the average commercial client,
with your images.’ Geoff said that work of such a high standard is
Although his well established business nevertheless important. ‘There's no coincidence
as an architectural, aerial, commercial and - people who do well at APPA generally do well in
corporate photographer in his home city of their businesses, because they can create great
Canberra ensures that he’s making photographs images for their clients.’
continuously, the paying work is not often a w www.geoffcomfort.com
source of images for his APPA entries. ‘I can't
use much of my commercial work in these w www.betterphotoworkshops.com.au
12 #80 photoreview.com.auFULL-FRAME WITHOUT COMPROMISE MEET THE LUMIX S1 AND S1R, YOUR NEW FULL-FRAME MIRRORLESS CAMERA. The LUMIX S is the full-frame mirrorless camera system made for the modern creative professional, combining class-leading image quality with sophisticated design and superior ergonomics. With industry-leading High Resolution mode up to 187MP, a huge 5.76 million dot OLED viewfinder, the world’s first 4K 50/60p video recording in a full-frame mirrorless system and Dual I.S 2 stabilisation up to 6 stops. LUMIX S series is the full-frame mirrorless system for professionals, without compromise. panasonic.com.au
,
.
Hozier.
14 #80 photoreview.com.auRockin’ all
over the world
From Ireland to Australia, Dara Munnis has made his way in
music photography with a documentary approach that has
paralleled his subjects’ paths from obscurity to success.
Steve Packer
#80 photoreview.com.au 1516 #80 photoreview.com.au
INSPIRATION
I
f you have any interest in what’s happening ‘In mid-2016 I was doing some work for a radio she was back in Sydney for a festival performance,
in Australian music, you will very probably station in London when I met an Australian girl and I shot that and a series of press portraits, and
be aware of Tash Sultana’s spectacular rise who stole my heart,’ he says. ‘I went to visit her in I was subsequently asked to join her touring party.’
to fame. And if you have seen a photo of her in Sydney, we started a long-distance relationship Since then, Munnis has accompanied Sultana
ecstatic flight on stage somewhere in the world, and I ultimately decided to move to Sydney. and her crew on three tours to North America,
chances are it was taken by Dara Munnis. She introduced me to Tash’s music. to New Zealand, on a European tour, and on
Munnis, who was born and raised in Dublin, ‘Then in mid-2017, I saw that Tash was playing headline and festival tours in Australia. Sultana
Ireland, has been building his career as a music in Dublin, so I went to the show, made my works on a one-month-performing, one-month-
photographer for seven years. In a tough, highly connections and took some photos. I promised off basis, and at time of writing, Munnis was
competitive field, he was doing better than most to reconnect once I’d moved to Sydney, and Tash preparing to return to North America with her.
when, three years ago, he met the first of two ended up using a photo from that gig as a tour Then to Europe. Then back to the United States…
Australian women who were destined to change poster for the next six months or so. ‘South Africa and South America are in there
his life. One of them is Sultana. The other… ‘Two months after I moved, Tash played too. I have a three-year calendar with her,’ he
Well, it’s best that Munnis tells the story at Sydney’s Hordern Pavillion and I was hired says. ‘And it’s still only starting. She’s just going
himself (in his typically warm, lilting Irish accent). to shoot the show. Two months after that, to get bigger. That’s the way I see it anyway.’
Left: Gavin James | Above: Scroobius Pip
#80 photoreview.com.au 17INSPIRATION 18 #80 photoreview.com.au
INSPIRATION
‘I usually shoot wider to get some of the
crowd and the room into it, to get some
context, to get the atmosphere.’
Ed Sheeran
#80 photoreview.com.au 19Above: Snarky Puppy | Right: Tash Sultana
‘I photographed Witnessing bands on the road to stardom
isn’t new to Munnis. He was once a musician
to distract them from the fact they’re having
their photo taken.’
maybe 50 bands
himself, until photography intervened. When young photographers ask him how
‘My parents both worked in the music they can break into the industry, he tells them
industry and I started piano lessons at three to ‘go to as many shows and photograph as
in Dublin – often years old. In high school I played in local bands
and got deeply involved in the Dublin music
many bands as you can, be easy to work with,
and then one of those bands might become
for no charge – scene, which, per capita, is one of the most
vibrant in the world. With an old film SLR my
successful and take you with them’.
In his case, it was the Irish singer-songwriter
and the law of
father gave me and point-and-shoots, I started Hozier. ‘I photographed maybe 50 bands in
taking photos of my friends. Then I bought my Dublin – often for no charge – and the law of
first digital camera and that was when people averages was that one of them was going to
averages was noticed that some of my photos stood out from
other people’s photos.
get somewhere. I shot a music video and a few
portraits of Hozier before he was anyone. In the
that one of them ‘Eventually, taking photos of bands and
musicians became full-time. I started my own
space of six months, he blew up from playing
to 10 people to playing to thousands. When he
was going to get
business in Dublin and began travelling the world hit the road in Europe, he brought me with him,
on tour. I’m primarily known for live performance and that put my name in front of other people.’
and creative portraiture, and tour diary and music
somewhere.’
Munnis has since worked for record labels,
videos, which I shoot with the same digital SLRs.’ management companies, promoters, venues
Munnis attributes his ‘edge’ to the approach and magazines, involving acts including
he took right from the get-go, developing a Ed Sheeran, Niall Horan (One Direction),
natural, non-interventionist style more related The Who, Stereophonics, Kodaline and
to photojournalism than the contrivances of hundreds of others.
industry-driven rock star image-making. ‘For a good while, I had a day job in IT,’
‘Since the bands were all my friends, I had he says, ‘but when Hozier wanted me, I quit.
an inside look. Most band members don’t know I’ve had to do other jobs as well, photographing
how to pose, they don’t know how to look good. restaurants and food, fashion or whatever, to
But they were at their ease with me. And even supplement my income. But 90 per cent of my
today, I find it’s best to keep people talking, time has been in music.’
20 #80 photoreview.com.au#80 photoreview.com.au 21
INSPIRATION
So when Munnis packed up and moved to Barnett, John Butler, Rolling Blackout Coastal lighting the crowd. Do they have any special
Sydney, how confident was he about picking up Fever... Ocean Alley are going to be massive in effects or pyrotechnics, and when are they
where he’d left off? the next year or so.’ happening? Is there any part of the show you
‘I was absolutely terrified,’ he says. ‘But it Gearwise, Munnis uses two Canon 5D Mark IIIs think looks especially good? Give yourself every
comes back to the same thing as quitting my with fast prime lenses: 24mm f/1.4, 35mm f/1.4, advantage possible to know what’s going to
day job. You have to make it work. 50mm f/1.2, 85mm f/1.2 and 135mm f/2. happen, then work out where to stand.
‘The first job I got in Australia was ‘Like a lot of people, I started off with a cheap ‘I’m usually hired by the band, so I can avoid
photographing in a nightclub, starting at 2 a.m. 50mm, and I always loved that lens because of having to shoot from the pit in front of the
It’s the worst job I’ve ever done. It had a list of its limitations. It makes you think more about stage, where there’ll be 20 people taking the
requirements – only girls, only big crowds, and what you’re doing and more considerate of same photos, focused on the singer’s face,
“cleavage, legs”. I lasted four nights at 60 bucks composition. If you need to get closer, walk over which could be anywhere. I usually shoot wider
a night. But I had to do whatever I could to keep there. As someone once told me, “zoom with to get some of the crowd and the room into it,
me going until something better came in.’ your feet”.’ to get some context, to get the atmosphere.
Which, of course, it did. As well as working The lenses need to be fast because of the And if I’m on stage, I hide behind a guitar amp
with Sultana, he’s been photographing and typical light limitations. ‘I have a flash, but it often or in the wings. I think it’s important not to
filming acts including Sydney reggae fusion takes away from the documentary style and is a interfere with what’s going on.’
band Ocean Alley, which recently topped the last resort. Quality of light comes first. On stage,
w To see more of Dara Munnis's photos,
Triple J Hot 100. it’s whatever the stage lighting is. Otherwise, visit www.daramunnis.com
‘The Australian music scene is in a great I might look for window light or whatever.
state of play, with all these acts that are killing ‘If you’re doing artists on stage, talk to the
it, and in totally different genres. Tash, Courtney lighting director first. Ask them when they’re
Hozier
22 #80 photoreview.com.auEXHIBITIONS
The National
Photographic Portrait
Prize 2019
T
he National Photographic Portrait Greta in her kitchen,
The exhibition of 39 portraits was on Prize is an annual event intended to 36 weeks 2018
display at the National Portrait Gallery promote the very best in contemporary
Alana Holmberg
from 23 February to 7 April 2019 and is photographic portraiture by both professional
Digital print
now on tour to the following locations: and aspiring Australian photographers.
Pregnancy carried my sister into a new
There were 40 finalists selected from
Collie Art Gallery (WA) chapter of her life and she welcomed
26 April – 9 June 2019 3.113 entries and the 2019 winner was
it warmly. Effortlessly. Ready for things
Alana Holmberg for her portrait ‘Greta In Her
Geraldton Regional Art Gallery (WA) to change. We’d spent much of our late
Kitchen, 36 weeks’. Alana received a $30,000 twenties debating the ‘right time’, if there
27 July – 22 September 2019
cash prize along with $22,148 worth of Canon was even such a thing, but she’d found
Port Pirie Regional Art Gallery (SA) photographic equipment. it. This portrait is an attempt to depict
4 October – 17 November 2019 The highly commended award was won by the tranquillity in Greta’s transition into
Blue Mountains Cultural Centre (NSW) Alex Vaughan for ‘Sumbawa Pride – Life on motherhood, and her trust in the future.
25 January – 22 March 2020 a Boat With Eleven Kids’. Alex will need to
find room on his vessel for his prize, an Eizo
ColorEdge monitor.
The People’s Choice Award went to Kate
Atkinson for her portrait ‘The textiles scientist’.
Kate picked up a $7,451 lighting kit from
Sun Studios.
w Entries for the National Photographic
Portrait Prize 2020 will open in
October 2019. For entry details see
https://nppp.portrait.gov.au.
24 #80 photoreview.com.auEXHIBITIONS #80 photoreview.com.au 25
EXHIBITIONS
Sumbawa pride –
life on a boat with
eleven kids 2018
Alex Vaughan
Digital print
Beccie, Steve and their eleven children
left rural Tasmania behind to take to
the high seas on their thirteen-metre
boat and full-time home, Sumbawa.
Three day-old baby girl ‘Squeak’ is the
first of the siblings to be born on the
boat. Here, they take a break from their
travels, anchoring off Chinamans Beach
in Sydney, Australia in February 2018.
The textiles scientist 2018
Kate Atkinson
Digital print
Ruth Baig was one of two females doing a
science degree at Manchester University. In her
thirties she travelled solo around India; she wept
when she saw the Taj Mahal. The image is part of
my ongoing project – The 8 x 10’s portrait series
– which is about conversations, connections
and stories. It explores the importance of
relationships, and how vital they are to human
happiness and existence. In our society, the
elderly become seemingly invisible, but within
these people are histories – exciting, incredible,
rich lives… if only we take the time to ask.
26 #80 photoreview.com.auLOCATIONS
Winter in Hokkaido
Japan is one of the best places in the world for
photography and its northernmost island, Hokkaido
provides a wide range of subjects for your camera.
Margaret Brown
Why visit Ranging from Hakodate in the south to speak the language, the people are courteous
Spending a week or two in Japan during Wakkanai in the north, Hokkaido boasts the and friendly. Tourist visits peak between mid
the Northern Hemisphere winter is a great longest winter season in Japan, making it a January and early March and many attractions
way to escape summer's heat and humidity, magnet for anyone interested in snow sports. are crowded at this time.
find exciting new subjects for your camera Visitors can participate in activities like skiing, If you've never been to Japan before we
and experience a different culture that is snowboarding, snowmobiling, snow rafting, recommend taking an organised tour to enable
interesting and engaging. Hokkaido, blessed ice fishing, dog sledding and drift ice sightseeing you to come to grips with Japanese culture,
with an abundance of ice and snow, dramatic cruises where the winter scenery is, literally, transport, accommodation and food. A Google
landscapes and seascapes and opportunities breathtaking due to sub-zero temperatures. search will provide plenty of tours to choose from,
to photograph wildlife close-up, is located Fortunately, Hokkaido is safe, clean, and ranging from budget-priced through mid-level to
between the Sea of Japan, the Sea of Okhotsk, easy to get to. It has excellent public transport, ventures offering top-flight facilities. Specialised
and the Pacific Ocean. delicious and healthy food and even if you don't tours for photographers are also available.
28 #80 photoreview.com.auLOCATIONS
Left: The annual Sapporo Snow Festival attracts millions of visitors from Japan and across the world. The theme for the 2019 festival was Finland and the
highlight was this huge replica of the Great Cathedral in Helsinki.
Above: Hokkaido's northerly latitudes ensure you'll be able to photograph snowy scenes if you visit between late November and early March.
#80 photoreview.com.au 29LOCATIONS
‘Sapporo... hosts its annual Snow Getting there
Direct flights go from Tokyo to the main airport at
Festival in mid-winter... the city's
Sapporo, and to regional airports at Hakodate,
Kushiro, Obihiro, Asahikawa, Ozora, and a couple
centre is filled with spectacular
of smaller airports. It's cheapest to take the one
hour 40 minute direct flight to Sapporo and go on
to other places by train or bus.
snow and ice sculptures’ Alternatively, if you have a Japan Rail Pass you
can take the JR Tohoku/Hokkaido Shinkansen
from Tokyo to Shin-Hakodate-Hokuto (4 hours)
and transfer to the Hokuto limited express
to Sapporo (3.5 hours). Without the JR pass,
the fare is roughly double the cost of a flight
Tour options Small-group tours are generally better for to Sapporo – similar to the air fare to the
A Google search on 'photography tours photographers since they provide greater regional airports.
in Japan in winter' will bring up plenty of flexibility and there's more chance of getting There are also long distance ferries between
tour options; some designed for ordinary the shots you want with fewer people to various ports in Honshu and Hokkaido,
members of the public and others dedicated get in your way. It's also easier to tailor providing a more leisurely and inexpensive
to meeting the needs of photographers. parts of the tour to meet specific needs. option. Departure ports include Niigata,
Most cover roughly two weeks, although If you opt for a tour, its pace will be Oarai (Ibaraki Prefecture), Sendai, Nagoya,
a few are only a week long, which is the dictated by the slowest member(s) in the Maizuru (Kyoto Prefecture) and Tsuruga
shortest time we think you should allow for. group. Check beforehand to find out the (Fukui Prefecture). Most ferries arrive either
Since prices are variable you need to have typical age range of participants to ensure in Otaru, 30 train minutes west of Sapporo
a clear idea of what you want in the way you're a good match. or Tomakomai, 45-60 train minutes south
of places visited, experiences offered and Note that day tours are available in many of Sapporo.
creature comforts. Low-to-mid-priced tours of the areas listed in this feature. An internet
will often require you to use public transport, search on individual places should show Getting around
sleep and eat Japanese-style (i.e. on tatami you what's available. Some day tours can be If you're taking a tour, transport and
mats) and buy the occasional breakfast or pre-booked online. accommodation are part of the package
lunch from a convenience store (to make and you will usually be met at the start of the
time available for shooting opportunities). tour and taken to your chosen transport at the
end of the tour. If you opt for independent travel,
consider investing in a Japan Rail Pass, which
provides unlimited travel on the JR Railway,
selected JR buses and ferries. It's available from a
number of online outlets, which are easily found.
Passes are offered in two levels, Economy
and Green Class (which is more up-market).
When this issue of Photo Review was published,
prices for seven-day passes started at AU$365,
with 14-day passes at $582 and 21-day passes
costing $744. They work best for travellers who
want to cover a lot of ground in a short time.
JR passes include travel on all but two of
Japan's 15 shinkansen train lines, which cover
the entire country from Hokkaido in the north to
Kagoshima in the south. Trains on these lines
can reach speeds of 320 km/hour so you can
cover a lot of ground quickly. Details can be
found at www.bit.ly/pr80-shink-trains.
Highway buses are another alternative and
cover most of Japan. They are relatively cheap
and comfortable. Best of all, you can find
timetables and pre-book tickets. Visit www.bit.ly/
Small-group tours can include excursions into the drift ice, where it's easy to get close-up shots of Steller's pr80-japan-buses for more information.
Sea Eagles, attracted to the boat for feeds of fish. This shot was taken just off the coast near Rausu. Sapporo is particularly easy to navigate, with
streets laid out on a rectangular grid
30 #80 photoreview.com.auLOCATIONS
and numbered according to the points of
the compass. 'North 7, East 9' indicates the
7th block north and 9th block east of the apex
at the eastern end of Odori Park.
There are also three subway lines, a tram
line and several bus companies (JR Hokkaido
Bus, Hokkaido Chuo Bus and Jotetsu Bus), and
you can purchase pre-paid cards that give you
discounted 'unlimited' use on the subways and
buses. Three-, five- and seven-day train passes
are available for those without JR passes.
They're also accepted on most JR buses.
Buses are a cheaper way to travel more widely
to explore the smaller cities and towns and visit
scenic attractions. In most towns it's easy to
find the bus station and ask about your next
destination. Signage is usually in both Japanese
and English, the station masters are helpful and
the buses are comfortable and always on time.
Where to go
Sapporo, the capital city of Hokkaido hosts its
annual Snow Festival in mid-winter. In 2020 it will
open on Friday 31 January and end on Wednesday
12 February. During the festival, the city's centre
is filled with spectacular snow and ice sculptures
that attract more than two million visitors from
Japan and across the world. They are illuminated
between dusk and 10pm every day.
Stages at intervals along the main site in Odori
Park present entertainment that can range from
ski-jump demonstrations through to pop-groups
and dancing. Interspersed between them and
the sculptures are stalls selling food, with the
occasional souvenir outlet.
A secondary site at Susukino, one subway stop
south of Odori Park, has about 100 sculptures,
while another site at Tsu Dome adds snow slides
and snow rafting to additional snow sculptures.
Shuttle buses to the Tsu Dome Site depart from
the Odori Site and from Sapporo Station roughly
every 15-30 minutes.
If you're staying in Sapporo for a few days,
it's worth visiting the Historical Village of Hokkaido,
an open-air museum that is easy to reach by
train and bus. On display are 53 typical buildings
from all over Hokkaido, dating from the Meiji and
Taisho Periods (1868 to 1926). There are four
different sections: a town, fishing village, farm
village and a mountain village.
Above right: This J-pop group attracted both fans
and photographers to the temporary stage near the
middle of Odori Park.
Right: Visitors emerging from the subway in Sapporo
to view the snow sculptures in Odori Park.
#80 photoreview.com.au 31LOCATIONS
A 30 minute train trip from Sapporo in the
evening will take you to Otaru, a historical port
town for the Otaru Snow Light Path Festival,
which runs for 10 days in February. During this
time, the city becomes decorated in lights and
small snow statues, which provide attractive
subjects for your camera.
There are two main areas for viewing
the hand-made lanterns, both located within
a fifteen minute walk of the train station.
The closer is the Temiyasen Kaijo area, which
stretches for about half a kilometre along the
tracks of the abolished Temiyasen railway line.
More popular is the Unga Kaijo area, which runs
for about 300 meters alongside the town's iconic
Otaru Canal. Visit www.bit.ly/pr80-otaru-snow-
light for more information.
Organised day tours are the best way to
see the main attractions in Abashiri, which is
reached by a 5-hour train trip from Sapporo.
Located on the northeast coast, Abashiri
boasts a couple of historical museums plus
opportunities to experience snowshoeing,
ice fishing and drift ice walks.
Rausu, on the eastern edge of the Shiretoko
Peninsula facing the southernmost of the
disputed Kuril Islands, has a bit more to offer
A child enjoys one of the snow lantern displays in the Temiyasen Kaijo area during the Otaru Snow Light Path Festival. and is worth visiting not only for its scenery but
also for its wildlife. In winter, you can participate
in snow-shoeing trips through pristine forest –
where you may see deer and Ural owls.
Another option is a Drift Ice and Bird
Watching Cruise, which takes you out through
the drift ice for one to two hours. You'll be
guaranteed close-up views of White-tailed
eagles and Steller’s sea eagles drawn to the
ice-strengthened boat for feeds of fish.
Hokkaido is also famous for the dancing
red-crowned cranes, which congregate at
Kushiro Marsh near Tsurui. Like the eagles,
the cranes are fed to keep them in the area
and there's a facility operated by the Wild Bird
Society of Japan where you can view and learn
about them.
A popular place for photographing them is
the Otowabashi bridge, which gets crowded with
photographers by sunrise, when the cranes leave
their night-time roost. For more information,
visit www.bit.ly/pr80-kushiro-marsh.
What gear to take
Most modern camera equipment should
be able to withstand Hokkaido's sub-zero
temperatures. However, it's wise to stick with
weatherproofed gear as you'll want to range
You can take a sleigh ride through the streets of the Historical Village of Hokkaido to help you decide what out into the landscape or on the sea to get
you'd like to photograph. the best pictures.
32 #80 photoreview.com.auLOCATIONS
‘Expect crowds
of photographers
wherever there
are opportunities
to photograph
wildlife.’
A lens with a focal length equivalent to 600mm in 35mm format was needed to obtain this shot of the cranes,
which still hadn't flown an hour-and-a-half after the bridge shot was taken.
Popular destinations can be crowded during the peak tourist season. These photographers are attempting to photograph the red-crowned cranes
from the Otowabashi bridge just before 7am when the birds were due to leave their overnight resting place.
#80 photoreview.com.au 33LOCATIONS
your camera's auto ISO range to enable you
to shoot hand-held in the lighting conditions
you're likely to encounter.
During the day, when there's plenty of light
reflected from the snow, the auto ISO will
default to the lowest 'native' value (ISO 100 or
ISO 200). At night, you will probably need to
use settings above ISO 1600 and often even
higher. Adjust your camera to minimise the risk
of camera shake in each situation.
Take advantage of all stabilisation options
available, whether in the camera or in the
lens – or both. Concentrate on your shooting
Warm clothing is essential if you want to take part in snowshoeing excursions. The peak of Mount Rausu can be technique when faced with slow shutter speeds;
seen in the distance in this shot.
hold the camera steady, keep your elbows in
and squeeze down on the shutter button.
Use single-shot mode, particularly in bright
We'd recommend light equipment; M4/3 interfere with other photographers' ability outdoor lighting. Even though storage is
or APS-C cameras and lenses, rather than to get shots and a tripod, in particular, will relatively cheap, burst shooting is wasteful
more bulky full-frame gear. For one thing light impair your mobility causing you to miss good and, if your shooting technique is well refined,
gear is easier to carry and many places will shooting opportunities. unnecessary in most situations. The noise
be crowded, making it difficult to manoeuvre Make sure you're warmly dressed with a scarf from the camera during continuous shooting
your way into a prime position for shooting. All and/or beanie to keep your head and neck is distracting – and may cause your subject
images reproduced here were taken with an warm. Fingerless gloves with pull-over mittens to take off.
Olympus OM-D E-M1 II camera and either the are great for shooting in cold environments. Aim to 'nail' each shot with a combination
M.Zuiko Digital ED 12-100mm f/4.0 IS PRO Snow boots are also essential both for keeping of timing and careful framing. All of the
general-purpose zoom lens or the M.Zuiko your feet warm and for preventing you from shots reproduced in this feature were taken
Digital ED 75-300mm f/4.8-6.7 II. slipping on icy paths. in single-shot mode.
Make sure you have a comfortable camera Check the brightness histogram before and
bag that provides good protection against rain Shooting tips after each shot. AE systems can perform poorly
and snow. Unless you have a specific shooting Turn off everything that might distract you if left to their own devices in snowy conditions.
situation in mind where they might be required, from composing your shots so you can Don't be surprised if you have to apply between
leave your flash and tripod at home. Both can concentrate on shooting. Start by setting +0.7 and +3.0EV of exposure compensation.
Shoot raw files as well as JPEGs to ensure
you have the widest range of tones to work
with when editing shots. Snowy scenes
containing areas of dark shadows can have
brightness ranges in excess of 15 stops,
which is beyond the range of most sensors.
When the histogram is jammed up against
both sides of the graph, the brightness range
is wider than the sensor can record. The AE
system will average the values, causing you to
lose both highlights and shadows.
We think it's best to ensure highlight details
are recorded, particularly if they occupy a large
part of the picture. You can 'bring up' shadow
details when editing, although they might
contain visible image noise. But that's better
than having large areas of detail-less white
dominating the shot.
Most cameras include high-dynamic-range
(HDR) modes for handling wide brightness
range subjects. However, they usually involve
combining multiple exposures so they're not
Check the histogram regularly when shooting in snowy conditions, making sure the tonal bias is towards the right suitable for moving subjects. The results can
of the graph but not hard against the right hand edge. Highlight details will be lost if that occurs. also look unnatural.
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Going
for cold
With 32,000 Instagram followers, an extensive performed amazingly. My battery level never blurring a waterfall. The traditional solution
website devoted to the craft of travel photography, dropped below 70%, which is exactly what you is to reduce the scene brightness by fitting a
and a thriving tourism and travel photography need when shooting in cold climates.’ neutral density (ND) filter to your lens.
business, Olympus Visionary Lisa Michele Burns Wintertime in the far north is synonymous ‘The live ND filter is one of my favourite
was an obvious candidate to put the new OM-D with gloomy, short days but Lisa found that the features of the E-M1X,’ Lisa says. ‘It is so fun
E-M1X through its paces in the months before E-M1X was up to the task. ‘The major feature to play with at the beach while watching the
it launched. that exceeded my expectations was the seven waves blur through the frame. I’ve never been
‘I booked a trip to Finland to test out the stops of image stabilisation which not only one to fiddle around with filters and tripods,
E-M1X, to see if it would stand up to the freezing allowed me to shoot during the low light polar so having the built-in live ND filter has allowed
conditions of Lapland mid-winter. I’d previously night conditions, but to capture 10-15 second me to capture long exposures without the fuss.
photographed Swedish Lapland in January and handheld exposures of the northern lights. I can’t Any solid or still objects in the scene remain
totally fell for the arctic conditions and frozen imagine doing that with any other camera. To be unaffected, while any moving elements are
wonderland, so this was a great excuse to outside, in -20 degree temperatures, shaking blurred. It’s seriously impressive and one
revisit the region. from the cold but being able to stand tripod free reason the E-M1X will come with me on every
‘Finnish Lapland is known for its fells and photograph dancing waves of aurora above, trip this year.’
[high and treeless mountain landscapes] it was insane!’ When you spend hours every day shooting,
and I spent almost two weeks snowshoeing In less gloomy climes, photographers can the size and weight of your gear becomes a
and cross-country skiing with the E-M1X run into situations where the scale from significant consideration. While it doesn’t tip the
in my backpack. Even after I fell in a deep darkest shadow to brightest highlight becomes scales to the same extent as most professional
hole of snow and the camera got completely a problem – particularly when you want to gear, the E-M1X is a little heavier than Lisa’s
covered, its weatherproofing held up and it still use a slow shutter speed for such effects as OM-D E-M1 Mark II, but she doesn’t mind.
To be outside, in -20 degree temperatures,
shaking from the cold but being able to stand
tripod free and photograph dancing waves
of aurora above, it was insane!
36 #80 photoreview.com.au38 #80 photoreview.com.au
OLYMPUS SPECIAL PROMOTION
Staring through the electronic viewfinder
and seeing a male lion gazing back was one
of the most incredible moments of my life.
‘Despite the size increase from the E-M1 ‘The E-M1X will however be my first call for Antarctic continent (on a plane because I get
Mark II, the E-M1X surprisingly doesn’t feel that capturing landscapes and wildlife due to the new seasick) for a date with my E-M1X to photograph
much heavier,’ she says. ‘It’s nowhere near as hand-held high-resolution mode which captures Paradise Harbour, an iceberg filled bay near
heavy as my previous Nikon gear that made my files at 50-megapixel resolution. I’ll also use it for Lemaire and Bryde islands. Actually my number
back seize up after a day of shooting. Even after any action and high-speed shooting situations. one dream destination is Socotra Island in
a full day of carrying it while snowshoeing and While shooting with the E-M1X in South Africa, Yemen. Obviously due to safety concerns it’s
hiking, the E-M1X felt similar to the E-M1 Mark it was so incredible to have the intelligent impossible to visit at the moment but one day,
II and didn’t cause me any pain.’ AF system and the image stabilisation when my fingers are crossed I’ll wander the rugged
Asked where the new E-M1X fits into her bouncing around the African savannah in a dunes and bizarre landscapes of this untouched
gear collection, Lisa says that it will be sharing safari vehicle – it was a game changer!’ gem in the Indian Ocean.
space in her camera bag with her E-M1 Asked where would she go if she could
w www.lisamicheleburns.com
Mark II. ‘I photograph a lot of underwater and somehow magically visit any place in the world
split-level photographs, so at this stage it for an afternoon, Lisa responds, ‘this year I’m www.instagram.com/the_wanderinglens
won’t completely replace the E-M1 Mark II which working on a project that showcases landscapes w www.olympus.com.au
has the dedicated underwater housing and still carved by climatic conditions. Ideally a dream
performs really well as a professional body. afternoon would include popping over to the
#80 photoreview.com.au 39INSIDER
Understanding
autofocus - Part 2
A follow-on from the previous issue's Insider, investigating AF point
arrays and the modes and adjustments most cameras provide.
Margaret Brown
H
aving outlined the different and accuracy. Because cross-type points
autofocusing systems used by today's require a fairly high light level to detect focus,
cameras, we turn our attention to they work best with fast lenses.
the in-camera focus controls. These are many Most cameras will autofocus at the widest
and varied and include focus points, focusing available aperture, regardless of the aperture
modes, focus area settings and the facilities in setting you select. This can create problems
camera menus that allow settings within these with AF systems that rely extensively on cross-
categories to be tweaked. type points.
If you use a slower lens with an AF point
Focus point arrays array designed to be most sensitive at f/2.8,
The term 'focus points' refers to the tiny for example, the cross-type points will usually
sensors that pick up the information needed default to operating like line sensors, reducing
for focusing. In a DSLR camera, these sensors their accuracy. This is why cross-type points are
are usually phase-difference detectors, which usually specified as being able to function at
are located below the secondary mirror that sits particular lens apertures.
behind the reflex mirror and is used to reflect In professional cameras, cross-type points
light down to the AF sensor array. Entry-level in the centre of the frame can remain
DSLR cameras have simple arrays, often with operational at apertures as small as f/5.6
fewer than 12 points. or f/8. This makes it easier to use telephoto
Mirrorless cameras tend to rely on contrast lenses in conjunction with teleconverters
detection but an increasing number have (which reduce the effective lens aperture),
phase-detection pixels embedded in the surface An example of a complex AF point array in a even when the latter applies a one- to two-stop
professional DSLR camera. The top section of the
of the image sensor. Entry-level mirrorless reduction in the light reaching the sensor.
illustration shows the AF point array the photographer
cameras usually have between 25 and 100 sees overlaid on the scene in the viewfinder, while Camera manufacturers often specify a
sensor points. Higher-featured cameras in both the lower section explains the function of various AF 'working range' for their AF sensor arrays,
categories have more focus points in more points and clusters of points. (Source: Canon.) measured in exposure values (EV) and given
complex configurations. at a standard sensitivity and temperature –
Professional cameras enjoy more complex, collect data on both vertical and horizontal usually ISO 100 at 23°C because heat can
highly configurable AF systems, many of them lines. Dual cross-type points have two crosses affect AF sensor modules. The lower this figure,
with separate contrast- and phase-detection at each location. Normally there will be one the better the camera will be able to focus in
focus points. Dedicated processing chips horizontal line, one vertical line and two diagonal low light levels.
running sophisticated algorithms process data lines, which combine in an asterisk-like shape. Hybrid AF systems in today's mirrorless
from each set of sensors. Because they collect data on both axes, sensors cameras address most of these issues by
As well as the number of points in the array, with all cross-type points are more accurate combining contrast and phase detection
the types of points are also important. There are across the AF point array. sensors. They can also extend the areas of these
two main types: line and cross-type. Line sensors Cross-type sensors are essential for tracking arrays right up to the peripheries of the frame,
can only detect contrast on lines perpendicular moving subjects and the more of the sensor which can make it quicker to capture off-centre
to their orientation, whereas cross-type sensors they cover, the greater the tracking AF speed subjects and when tracking moving subjects.
40 #80 photoreview.com.auYou can also read
