WIN! PEAK DESIGN TRAVEL TRIPOD ALUMINIUM, VALUED AT $669 p17 AUSTRALIAN RESIDENTS ONLY WORLD’S BEST NATURE SHOTS FANTASTIC FILES Pro tips for shooting, uploading, and sorting your shots THE LENS OF THE LAW What it takes to be an AFP forensic photographer THE POWER OF RAW Shooting secrets to transform your photos PLUS The AP Christmas Gift Guide! Wildlife wonders %FDFNCFS+BOVBSZ
The LUMIX G9II is a versatile and powerful camera that is perfect for any photographer. With its high-resolution sensor, weather-sealed design, and Phase Hybrid AutoFocus, the G9II is ready to handle any situation. Whether you're shooting wildlife, a motor race, or a sporting event, the G9II will deliver stunning results. And with its compact and lightweight design, it's the perfect camera to take with you wherever you go. CAPTURE THE DECISIVE MOMENT LEARN MORE *100-400mm lens available separately
E D I T O R ’ S N O T E | 3 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM T his year, all the talk in the photography world has been about Artificial Intelligence, and it’s not hard to understand why. From AI images sneaking their way in and winning photo competitions, to AI enhancements hitting the mainstream with new one-click tools in products like Adobe Photoshop, it’s been hard to escape the rise of AI in 2023. But what’s remarkable is how quickly it has moved into the conversation at all. Camera tech developments like AI autofocus took years of iterations to reach the point where they became the indispensable tools we use today, and yet the advancements in AI since just the start of the year have been eye-opening to follow. Almost monthly there was another quantum leap in the emerging technology, and for a period we were tweaking our terms and conditions for our photography competitions on an almost weekly basis as we grappled with what it all meant for the work we promote. At the same time, it’s also an exciting time to be a photographer. I’ve really felt this year is the first time where I’ve been able to understand and appreciate all the buzz around what AI powered tools allow you to do. Previously, it was a bit intangible, a bit too sci-fi, and something that you had to be a real computer geek to understand. But suddenly, with a click of a button I can now do things like remove noise and save a previously unusable image or clone a distraction in seconds. For all the controversy around AI, it’s enhancements like this that I think all photographers do appreciate. Ultimately, I believe most people are supportive of AI, but also need to know that what they are looking at is genuine. So, while the long-term implications of AI on traditional photography are still very much up in the air, I do think in 2024 we’ll start to see a shift as more robust AI detection software starts to appear. So, what can you expect from AP in 2024? Well, I hope we’ll be able to continue to chart the course of photography as it continues to shift and change. Ultimately our love for the image is as strong as ever, as is our passion for promoting the work of photographers like you in Australia. It’s something we feel very privileged to be able to do. Thank you for joining us this year, and I hope you enjoy this issue and have a restful and creative Christmas break. See you in the new year! C THEYEAR THAT WAS... Being able to save an image you thought was a goner is one of the best bits about AI. This fast flying Kea I photographed in New Zealand was shot at ISO 12800. It cleaned up amazingly well with Adobe Lightroom Denoise. M I K E O ’ C O N N O R , E D I T O R $3&%*5fl .*,& 0$0//03 ESTABLISHED IN 1950 EDITORIAL Editor: Mike O’Connor [email protected] Contributing Editors: Mick Fletoridis, Rob Ditessa, Drew Hopper, Anthony McKee and Saima Morel. ADVERTISING National Sales Manager: Jodie Reid (02) 9213 8261 [email protected] Advertising Production: John Viskovich (02) 9213 8215 [email protected] SUBSCRIPTIONS WEB: www.greatmagazines.com.au CALL: 1800 807 760 EMAIL: [email protected] SUBSCRIPTION RATES 1 year/7 issues $62.69 1 year PLUS (print + digital) $60.00 VISIT: GREATMAGAZINES.COM.AU Australian Photography is published by Yaffa Media Pty Ltd. ABN 54 002 699 354 17-21 Bellevue Street, Surry Hills, NSW 2010. Ph: (02) 9281 2333 Fax: (02) 9281 2750 All mail to: GPO Box 606, Sydney NSW 2001 Yaffa Photographic Group includes: Australian Photography, Capture, www.australianphotography.com www.facebook.com/ australianphotographymag Publisher: James Ostinga Marketing Manager: Lucy Yaffa Production Director: Matthew Gunn Studio Manager: Lauren Esdaile Designer: Bree Edgar All editorial contributions should be sent to [email protected] Australian Photography welcomes freelance contributions. Please check with the editor before submitting your story. Editorial guidelines are available via email and include full details on all requirements for story and image submissions. Please note that stories should be embedded in the body of the email, or supplied as email attachments in text format (.txt), rich text format (.rtf) or Microsoft Word format (.doc). Ideally, images should be supplied in JPEG format (.jpg) with a separate list of captions. JPEG compression should be no lower than 9/12 (75%). Digital images should be supplied at a resolution of 300ppi, at a physical size of at least 20cm and not larger than 42cm on the longest side. ISSN 0004-9964
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YAFFA 15382 OVER $22,000 IN CASH AND PRIZES TOP ENTRIES SHOWCASED IN AUSTRALIAN PHOTOGRAPHY $5 FROM EACH ENTRY GOES TO THE AUSTRALIAN CONSERVATION FOUNDATION COMPETITION CLOSES 28 JANUARY 2024 CATEGORIES LANDSCAPE I SEASCAPE I URBAN I AERIAL CALL FOR ENTRIES THELANDSCAPEAWARDS.COM.AU MAJOR SPONSOR CATEGORY SPONSORS CHARITY PARTNER
AUSTRALIANPHOTOGRAPHY.COM DECEMBER - JANUARY 2024 22 WORLD’S BEST WILDLIFE With 49,957 entries from 95 countries, the year’s finest wildlife images have been announced in the annual Wildlife Photographer of the Year. 34 THE LENS BEHIND THE LAW The work of the Australian Federal Police’s Forensic Search and Imagery team has long been shrouded in mystery – but not anymore, as we lift the lid on the important work of the men and women in blue and what it means to be an AFP photographer. 28 THE CULL Is your new year’s resolution to get on top of your image file management? Well, if I it ain’t, it might just be after you read this feature. Photographer Darran Leal breaks down his simple, step-by-step image selection and sorting workflow in Adobe Lightroom. 42 THE AP CHRISTMAS GIFT GUIDE Left your Christmas shopping to the last minute? You’re not the only one! Luckily AP is here with our annual Christmas gift guide, with the best gifts for photographers regardless of your budget. 48 Q&A: LEAH DEN BOK Leah Den Bok’s striking black and white imagery is making a real difference in the lives of the less fortunate. We meet the 23-year-old to find out the secrets behind her powerful people portraits.
DEPARTMENTS 8 BEHIND THE LENS Conservation photographer Doug Gimesy turns his (rather large) lens towards one of our lesser appreciated native species in this issue’s Behind the Lens. 10 QUICK SNAPS The latest news and products from the world of photography. 16 YOUR BEST SHOT Take a look at the best images from our ‘Night’ photo competition. 68 APS ONE FRAME AND COLUMN News, views, and images from the Australian Photographic Society. 70 IMAGE DOCTOR Anthony McKee critiques a selection of readers' images and picks the winner of the AP or Capture subscription. THIS ISSUE’S COVER Captured by photographer Angela RobertsonBuchanan, this juvenile Baudin's black cockatoo, photographed in Denmark, is endemic to WA and unfortunately listed as critically endangered. Nikon D850, 200-500mm f/5.6 lens @ 500mm. 1/400s @ f5.6, ISO 2000. 62 RAW, WHAT IS IT GOOD FOR? We’re always told that you have to shoot raw, but why is that? In this feature, Matty Graham looks at why the raw format allows you to be more creative, and make the most of your photos. DOUG GIMESY Doug is a professional conservation and wildlife photojournalist. See more of his work at gimesy.com DARRAN LEAL Darran has been a professional photo tour operator for more than 30 years. See more of his work at worldphotoadventures. com.au TIM ROBINSON Tim is the producer of Snap Happy TV and a keen bird photographer. Find out more at worldviewproductions.com.au STEVE THOMAS Steve has been racing, shooting and writing about bikes and adventure travel for most of his life. See more of his work at stevethomasimages.com DREW HOPPER Drew Hopper is an Australian photographer and visual storyteller committed to documenting social, cultural, and environmental stories. See more at drewhopper.com THIS ISSUE’S CONTRIBUTORS 54 REVIEW: PANASONIC LUMIX S5 II Panasonic’s latest S5 is here, and it’s packing a few surprises under the hood that brings it right up-todate, as Tim Robinson discovers. 57 REVIEW: ULANZI VL120 RGB LED VIDEO LIGHT A cheap entry into the world of continuous lighting, Ulanzi’s VL120 lights are turning heads in the right way. Steve Thomas finds out more. 58 REVIEW: DJI AIR 3 DJI continues to refine the drone flying experience, but are the updates on the third edition of the Air worth the wait or merely iterative? Drew Hopper finds out. 60 REVIEW: SONY 16-35MM F/2.8 GM II Sony’s final ‘holy trinity’ lens now comes in a Mark II. So has the six year wait been worth it? Doug Gimesy takes a look.
| 8 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM
HIGH SPEED BELLY-DIP There is a group of animals in our society who have called Australia home for over two million years. As we sleep, each night they head out to pollinate and disperse the seeds of our native trees. As they do, they help our forests flourish. Some travel over 2,000km in a single year, and with night vision better than cats, and a sense of smell equal to dogs, they are a marvel of evolution. Sadly, most people never get to see these night gardeners, but if they do, it’s probably as a dark shadow passing in the night sky. I am of course talking about Australia’s own Greyheaded Flying-fox. Often under-appreciated and misunderstood, over the last seven years I’ve been working on a series of Grey-headed Flying-fox (GHFF) images to try to tell their full life story. My hope being that if people can see them more closely and in daylight, they might just appreciate how incredible they are. One key image I’ve always wanted to capture is a high-speed belly-dip. It’s an important behaviour related to coping with heat and climate change, as they do this to cool off and get a drink. But, it’s also because it’s simply spectacular to watch and makes for a cracking photo. To catch an image like this, you need one very hot day or a series of very warm days in succession. But the real challenge is to find a place where you can get eye level with the water; for as with most wildlife photography, being eye level when something happens usually makes the best photo. Having scoped out a few frequent ‘dipping’ spots, I had two options to get eye level. Get a boat with low sides and lay down, lens hanging over the edge, or find somewhere that I could safely stand chest high in water. I chose the ‘stand in water’ option. Firstly, I could do it easily on my own, standing gave me more manoeuvrability, and secondly, standing allowed me to have my lens closer to the water line. Even though I’d only be standing in still water at chest depth, I chose to wear a life jacket. If you slip, the last thing you want to be thinking about is trying not to drown whilst you struggle to keep a $24,000, 3kg lens above your head. Knowing that for the shot I wanted the GHFFs flying towards me but from some distance, it then simply became a matter of waiting for the right weather, standing chest height in water, and hoping that they would belly-dip, my autofocus would be quick enough, my settings would be correct, and that I wouldn’t dunk my lens. This image took me about five attempts of three hours each. Technically, it achieved what I wanted; a close up of a GHFF doing a high-speed belly-dip. But does it really achieve what I wanted? Will those who see it appreciate how incredible Greyheaded Flying-foxes are? Well, I’ll leave that to you to answer. SONY A1, SONY 600MM F/4 LENS. 1/1600S @ F5, ISO 1600. | 9 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM B E H I N D T H E LE N S P H O T O G R A P H E R : D O U G G IM E S Y
| 10 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM 2023 WALKLEY PHOTOGRAPHY AWARDS ANNOUNCES FINALISTS AND FIRST WINNERS T HE finalists in the annual Nikon Walkley Awards have been announced, alongside two category winners, in the annual celebration of Australia’s best photojournalism. The 2023 Nikon Photo of the Year Prize was awarded to Quinn Rooney for his image Matilda Joy. Rooney is an Australia-based staff photographer with Getty Images, and his image shows the Matildas celebrating after goalkeeper Mackenzie Arnold stopped one of France’s penalty shots in the Quarter Final match. The Walkley judges used the term “jubo” – a newsroom abbreviation for the images of jubilation that editors look for after a sporting victory. “It’s a moment that encapsulates the spirit of the country. The eyes on it, the emotion we have invested into it. It’s the peak of action, a global moment. Of all the Matildas’ celebration jubo photos, that one really nailed it. It includes many of the key players on the team, caught in a perfect moment. Poetry in motion.” Also announced was the winner of the Nikon Portrait Prize, awarded to Eddie Jim, of The Age, for his shot Fighting Not Sinking. Jim’s portrait shows the impact of climate change on remote communities such as those on the Fijian island of Kioa, population 500. Lotomau Fiafia has seen first hand the encroachment of the shoreline onto the land he grew up on. “In capturing this image of Lotomau and his grandson John, I wanted to document and share the impact of climate change in a powerful way, making it more relatable and understandable to a wider audience. Their presence serves as a visual anchor to the reality of the situation, as well as a testament to the knowledge being passed down through generations. The tranquil water was flat like a mirror and their faces were perfectly lit by the early morning light, drawing attention to the message they convey,” Jim said. The judges said, “This is a technically excellent environmental portrait. It would have been so easy for Eddie Jim to take it completely out of the water, but he’s also gone under the water. This image tells a story, and says everything it needs to say. When the old man was standing there as a little boy, he would have been above water. There’s a generational theme, a metaphor, and it’s a wellexecuted shot. He’s a master of light. It’s a cracker.” You can see all the finalists in person at the State Library of NSW until January 21, 2024. AllWalkley Awardwinnerswill be announced at a gala dinner in Sydney on November 23. Q U I C K S N A P S TOP: Matilda Joy by Quinn Rooney. Australian players celebrate as goalkeeper Mackenzie Arnold stops France’s penalty shot by Eve Perisset in the penalty shoot out during the 2023 FIFA Women’s World Cup Quarter Final match between Australia and France at Brisbane Stadium. LEFT: Eddie Jim, Fighting Not Sinking. One of the elders on the remote Kioa Island in Fiji, Lotomau Fiafia was born in 1952 on the island and has lived his whole life there. He and his ten-year-old grandson John swim in the bay almost every day. In this photo they are standing where the shoreline used to be when Lotomau was young, but the sea level now is up to his chest.
www.tamron.com.au Art is subjective. Performance isn’t. New lenses for NIKON Z Di III VXD 35-150mm F/2-2.8 150-500mm F/5-6.7 Di III VC VXD NIKON UNVEILS RETRO INSPIRED FULL FRAME ZF NIKON has finally released the much anticipated Zf, which packs a 24MP BSI CMOS sensor and includes many of the technologies found in Nikon’s Z9 flagship, but packs it into a retro body that looks to successfully blend the past and present. In a nutshell, the Nikon Zf is the more powerful, larger brother of the retro styled APS-C 20.9MP sensor Nikon Zfc. The magnesium-alloy body has an elegant glossy finish for a more authentic look and feel, and the dials, shutter-release button, and power switch are made of brass for a high-quality feel. The Zf is designed to mimic the look of the company’s FM2 SLR from the early 1980s, and it even features a Nikon logo from the same era, with the addition of carved letters and numbers on the top of the camera a nice touch. Inside, the Zf is equipped with the same EXPEED 7 image-processing engine as the Z9. You also get the same nine different types of subject detection as found on the Nikon Z8, and the camera has an in-body image stabilisation rated up to 8EV. It’s fairly swift at shooting too, with up to 14fps continuous shooting in JPEG, and 11fps Raw. Another interesting addition is a dedicated monochrome selector so you can quickly view and shoot in B&W. On the rear is a 3.2’ fully-articulated LCD, and the body is drip and dust proof. Video specs max out at 4K/60 video from 6K capture, and there’s also 10-bit N-Log recording. In addition, there is an interesting aesthetic option of being able to choose from six different coloured artificial leather covers. The Nikon Zf is available now for a body only price of $3,499, or with a Nikkor Z 40mm f/2.0 lens for $3,999. You can find out more about the Zf at nikon.com.au Q U I C K S N A P S | 12 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM ADOBE LAUNCHES PHOTOSHOP ON THE WEB ADOBE has officially launched Photoshop on the web, which looks to bring many desktop tools and functions of the industry standard creative platform to a browser near you. According to an Adobe blog post, Ps on the web comes complete with the company’s newly released Adobe Firefly generative AI features includingGenerativeFill andGenerativeExpand. “With Photoshop on the web, you can start new creations from scratch or pick up where you left off on any Photoshop document on the web and if you prefer, you can jump back into the desktop app with the click of a button,” Adobe says. The launch comes at an interesting time for Adobe, which recently announced it would increase prices for many Creative Cloud memberships starting November 1, 2023, with the price of specific Creative Cloud plans increasing in North America, Central America, South America and Europe. For now at least, Australia will miss the price hike of between $2 and $3 USD a month on many plans, which the company says is a response to its increasing investment in AI technology. The hikes come despite Adobe reporting revenue in the third quarter of 2023 of $4.89 billion USD, representing year-over-year growth of a massive 13%. At the same time, the company has also announced it will implement ‘Generative Credits’ to offset its computing costs for generating content with AI models. Various Adobe plans will come with different amounts of credits each month, which when exhausted can be purchased separately, and don’t roll over each month.
Q U I C K S N A P S | 13 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM www.tamron.com.au SONY E New lenses for Di III VXD 17-50mm F/4 Di III VC VXD G2 70-180mm F/2.8 The lightweight heavyweights. CANON ANNOUNCES RF 10-20MM F/4L IS STM CANON has announced the RF 10-20mm f/4L IS STM, the widest full-frame zoom currently on the market for Canon mirrorless cameras. Previously the EF 11-24mm f/4L USM (retailing between $4.5-$5K) was the widest full-frame Canon lens. This weighed in at a considerable 1.2kg. We had been promised that mirrorless lenses would be lighter, and we are happy to note this new lens only weighs 570g! The RF 10-20mm f/4L IS STM is available now with an RRP of $4,199 which includes a five year warranty when purchased from an authorised Canon Australia retailer. Find out more at canon.com.au BLACKMAGIC ANNOUNCES CINEMA CAMERA 6K: AFFORDABLE 6K FOR THE MASSES MELBOURNE’S Blackmagic Design has unveiled the Cinema Camera 6K, the company’s first model with to come with an LMount and its first full-frame camera. The Cinema camera 6K is built around a 24.6-megapixel full-frame sensor (6,048 x 4,032), that shoots up to 6K and has dual native ISO up to 25,600 for improved low light performance. Blackmagic says the camera has 13 stops of dynamic range. “With the new Blackmagic Cinema Camera 6K, we wanted to create the most portable camera possible for high end, large format cinematography,” said CEO Grant Petty. “That’s why we took the Pocket Cinema Camera platform but completely re-engineered the electronics inside around a full frame sensor and L-Mount.” By adopting the L-mount, Blackmagic have been able to take advantage of a relatively short flange distance, however that comes at the cost of the built-in ND filter found on past models. Made from lightweight carbon fibre polycarbonate composite, the camera has a similar form factor to the BMPCC 6K Pro, and features a multifunction handgrip with all controls for recording, ISO, WB and shutter angle in the one location. The Cinema Camera 6K can shoot in all standard resolutions and frame rates up to DCI 4K and 6K, and stills at up to 24.6 megapixels. 6K open gate (3:2) is available at up to 36fps, or 60fps at 6,048 x 2,520 (2.4:1) and 60fps at 4,096 x 2,160 (4K DCI). “Customers can even work in true anamorphic 6:5 at much higher resolutions than other cameras using anamorphic lenses in 4.8K 24fps at 4,838 x 4,032,” the company said. The camera comes with a 1,500 nit 5-inch tilting (but not fully articulating) HDR touchscreen, and displays typical shooting aids like a histogram, focus peaking, levels, frame guides and more. Video is recorded in the 12- bit Blackmagic RAW (BRAW) or H.264 proxy formats, either to CFexpress B or an SSD via the USB-C port. In addition, there’s a wide range of audio ports, and an HDMI output. The Cinema Camera 6K is available now for $4,245. You can find out more at blackmagicdesign.com
Q U I C K S N A P S | 14 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM Better than a lifetime warranty. *Pro Range only No, really. You break it, we replace it * All-new Magnetic Filters RARE PHOTOS OF SYDNEY OPERA HOUSE RELEASED TO MARK 50TH ANNIVERSARY GETTY has published rare photos of the Sydney Opera House, as the World Heritage listed masterpiece and nation’s busiest cultural centre celebrates its 50th anniversary. The collection of 13 photos was recovered from the Getty Images Archives, and documents moments since the initial construction of the Opera House and after it officially opened its doors in October 1973. “The Sydney Opera House is one of the most photographed buildings in the world,” said Bob Ahern, Director of Archive Photography for Getty Images. “To celebrate its 50th anniversary, we looked back across the vast troves of the Getty Images collections to help tell the story of this iconic landmark. In doing so, we discovered images from the Archives that had been rarely seen before, from its early construction to its role as a cultural focal point in Australia.” C BOTTOM: Cameron Spencer captures this mid-air moment as Jake Duncombe of Australia performs an air during the 'Slaughter at the Opera' skateboard competition on the forecourt of the Sydney Opera House on March 1, 2008. TOP: A worker with a head for heights inspects some of the over one million tiles that form the roof of the Opera House. The ‘tile tapping’ test is conducted every five years to inspect the health of the tiles that cover the iconic sails and takes six weeks to complete.
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| 16 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM Y O U R B E S T S H O T YOUR BESTSHOT N I G H T Our modern cameras make it easy to take photos when light levels are low, but the fundamentals of good photography still apply. You need a great subject, great composition, and great lighting – regardless of how little you have to work with. Here are our picks this issue.
| 17 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM Y O U R B E S T S H O T DANI MAVER Supermood EDITOR’S COMMENT Dani Maver’s image Supermood may be a blend of two images, August’s super blue moon seen from Melbourne, and a crow on the roof through foliage, but they come together to make a very moody, atmospheric image that has a real cinematic vibe to it. Your processing of the final image is also great, preserving the noise to add a bit of grit – something we probably don’t see enough of in an era of pin-sharp lenses and high definition camera sensors! TECHNICAL DETAILS Sony A7 III, Sony 200-600mm F5.6-6.3 G lens @ 600mm. 1/640s @ f8, ISO 2000; Crow: Sony A7III, Sony 70-300mm F4.5-5.6 lens @ 300mm. 1/200s @ f5.6, ISO 125. RUDY KALELE NightFest - Flowers, Lights & the Giant Wheel EDITOR’S COMMENT As Rudy Kalele says it, night photography is all about light painting. Here, he tells us a perfect opportunity presented itself at Canberra's Floriade NightFest. “The slow moving giant wheel provided the perfect backdrop,” he explains. “The challenge was to take a long exposure shot, but not too long so as to bring out the full spectrum of colour and not whitewash the photo. A small aperture was deployed to try and get the star effect with the harsh light facing the camera.” This is a great shot with a nice leading line through the flowerbeds that take us all the way to that amazingly bright giant ferris wheel. On the use of colour, you’ve done well to preserve the important bits without overcooking them either – no mean feat in a scene with some seriously busy lighting! Well done. TECHNICAL DETAILS Canon EOS R6, Canon 15-35mm L F2.8 lens @ 15mm. 6s @ f22, ISO 1000. Thanks to the team at Blonde Robot, Rudy Kalele has won a Peak Design Travel Tripod Aluminium. Travel Tripod is the most portable, packable, and easy-to-setup professional tripod in the world. For years, traditional tripods have suffered a critical flaw: needless bulk and wasted space, the result of a spatially inefficient design. By redesigning the tripod from the ground up, Peak Design created the world’s most portable travel tripod—one that packs to the diameter of a water bottle—without sacrificing height, stability, or load capacity. MORE INFO: PEAKDESIGN.COM
Y O U R B E S T S H O T | 18 | DECEMBER - JANUARY 2024| AUSTRALIANPHOTOGRAPHY.COM CHANTELLEPOLLEY Mercury Rising HOW I DID IT I visited Narooma early in the milky way season on a night near the new moon, so Narooma Beach was pitch-black and I couldn't see Glasshouse Rocks with my small head torch. I boosted the ISO to 12800 to compose this photo and waited for the small waves to rush around the foreground boulder. The shots I captured with a lower ISO were just too dark, so I stuck with the higher ISO, knowing I could use the Lightroom de-noise function to reduce the noise. The orange airglow made the photo muddy, even with changes to the white balance, so I turned the image to monochrome. I boosted blacks, highlights and whites a little to bring out the stars, waves and distant lighthouse. I also added a little clarity and contrast. TECHNICAL DETAILS Canon EOS R, RF24-105mm f/4-7.1 lens @ 24mm. 13s @ f4, ISO 12800. STEVEGENESIN Ploughing the Stars HOW I DID IT This shot was taken in the Dark Sky Reserve near Mannum in SA. The Milky Way sits nicely above the abandoned tractor, and I used a torch to illuminate the tractor from different angles to try and highlight the machinery with several images at F5. I then exposed for the night sky at F2.8 taking several images before I finally blended the shots in Lightroom and Photoshop. TECHNICAL DETAILS Olympus OM1 Mk II, 7-14mm Pro lens @ 7mm. 15s @ f2.8, ISO 1600. Get a case that does more. MOBILE BY PEAK DESIGN Nobody likes a one-trick pony.
| 19 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM DARREN WASSELL Star Gazing @ Lake Weyba HOW I DID IT This image is over 200 x 30 second exposure shots taken from about 3:15am - 5:15am one beautiful morning. I purposely chose this time so I could get that early morning glow in my image to really bring it to life with these beautiful star trails! TECHNICAL DETAILS Sony A7 IV, 18mm focal length. 30s @ f3.5, ISO 2500. ROBLORD Lunar Eclipse HOW I DID IT The Paul Wild Observatory near Narrabri occasionally opens its gates at night to a limited number of keen astrophotographers, but unfortunately not on the night of the lunar eclipse in May, 2021. Still, I managed to capture this image of one of the radio telescopes on a night the next month and incorporate 41 images of the lunar eclipse captured at another regional location. The images of the moon were taken every seven minutes, with six to eight separate photographs for each one (stacked to improve the quality). I used a star tracker to capture the middle ten images to avoid blurring due to the movement of the moon. The final image is a compilation of more than 250 separate photographs, adjusted in Lightroom and blended in Photoshop. TECHNICAL DETAILS Foreground: Nikon D7100, 16mm lens. 4s @ f11, ISO 1000. Moon: 300mm lens, ranged from 1/250s @ f11, ISO 100 (for pre- and post-eclipse images) to 1/2s @ f8, ISO 3200 (for blood moon). Classic style. Modern performance. Avant Mini Micro Pro Hobolite products are designed to provide brilliant LED lighting for professionals, combining excellent performance with classic design. Created by artists, for artists. Professional lighting.
| 20 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM Y O U R B E S T S H O T HOW TOENTER YOUR BEST SHOT IS OPEN TO AP SUBSCRIBERS AND APS MEMBERS. TO ENTER AN IMAGE IN THE COMP, CHECK THE COMPETITION THEMES AND INSTRUCTIONS BELOW AND EMAIL YOUR BEST IMAGE TO [email protected] UPCOMING COMPETITION THEMES FEBRUARY 2024 PORTRAIT 30 November 2023 APRIL 2024 FLIGHT 31 January 2024 JUNE 2024 FRAMING 31 March 2024 AUGUST 2024 WATER 31 MAY 2024 OCTOBER 2024 RURAL 31 JULY 2024 YOUR ENTRY 1. Email your entry to [email protected] with the name of the competition theme in the email subject line, for example: Weather, Abstract, Landscape, etc. 2. The image file must be the same as your name, for example Jane Smith.jpg. If you enter multiple images, each new image file name should be appended with a unique number, eg Jane Smith2.jpg 3. A maximum of three images can be entered per person. 4. Images must be in JPEG format. 5. Email file size must not exceed 7MB. 6. Please include the following information about your entry in the body of your email: Name, image title and up to 200 words explaining how you created your image. Please also include technical details including camera, lens, focal length, shutter speed, aperture, ISO, tripod (if used) and a brief summary of any software edits. Wow! Quick-connecting, versatile, and seriously good looking. The most versatile and quick-connecting camera strap in the world, Peak Design straps pack thoughtful functionality and endless adaptability into a an ultra-portable package. Strap in for silly season!
australianphotography.com/apsurvey Take our 5-minute Reader Survey and go in the draw to win a great prize! “Hobolite Micro may just be the coolest looking piece of lighting gear we’ve ever seen” – Mike O’Connor, Editor Australian Photography Value $549 YAFFA 15460 a Hobolite Micro Creator Kit valued at $549
| 22 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM W IL D LIFE P H O T O G R A P H E R O F T H E Y E A R : T H E W I N N E R S The ancient mariner by Laurent Ballesta, France. Winner, Portfolio Award. The golden horseshoe. A trispine horseshoe crab moves slowly over the mud. Its golden protective carapace hides 12 appendages. Above the horseshoe crab, a trio of juvenile golden trevallies are poised to dart down for edible morsels ploughed up by its passage. Nikon D5, 13mm f/2.8 lens. 1/25s @ f22, ISO 800. Seacam housing, 2x Seacam strobes.
| 23 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM The winners of the Natural History Museum's prestigious Wildlife Photographer of the Year competition have been announced, with French underwater photographer and marine biologist Laurent Ballesta awarded the overall title of Wildlife Photographer of the Year 2023 for ‘The golden horseshoe’. B Y T H E A P T E A M W IL D LIFE P H O T O G R A P H E R O F T H E Y E A R : T H E W I N N E R S WORLD’SBEST
| 24 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM W IL D LIFE P H O T O G R A P H E R O F T H E Y E A R : T H E W I N N E R S B allesta’s image shows a tri-spine horseshoe crab accompanied by a trio of golden trevallies. The tri-spine horseshoe crab has survived for more than 100 million years but now faces habitat destruction and overfishing for food and for its blue blood, used in the development of vaccines. But, in the protected waters of Pangatalan Island in the Philippines, there is hope for its survival. Chair of the jury and editor, Kathy Moran says, ‘To see a horseshoe crab so vibrantly alive in its natural habitat, in such a hauntingly beautiful way, was astonishing. We are looking at an ancient species, highly endangered, and also critical to human health. This photo is luminescent.’ Laurent becomes only the second photographer in the competition’s fifty-nine-year history to be awarded the Grand Title award twice. Laurent's image was selected from 49,957 entries from 95 countries. The winning im ages will be exhibited at the Natural History Museum in London, before the exhibition tours across the UK and internationally, including to Australia, later this year. C
| 25 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM FAR LEFT: Hippo nursery by Mike Korostelev, Russia. Winner, Underwater. Mike Korostelev reveals a hippopotamus and her two offspring resting in the shallow clear-water lake. For over two years Mike has been visiting the hippos in this lake and knew they were accustomed to his boat. He spent just 20 seconds underwater with them – enough time to get this image from a safe distance and to avoid alarming the mother. Canon EOS 5D Mark III, 17–40mm f/4 lens. 1/320s @ f7.1, ISO 640, Seacam housing. BELOW: The wall of wonder by Vihaan Talya Vikas, India. Winner, 10 Years and Under. Vihaan Talya Vikas watches as an ornamental tree trunk spider prevents its prey from escaping. Canon EOS 7D Mark II, Laowa 15mm f/4 lens.1/200s @ f5.6, ISO 100. W IL D LIFE P H O T O G R A P H E R O F T H E Y E A R : T H E W I N N E R S FAR LEFT: Life on the edge by Amit Eshel, Israel. Winner, Animals in their Environment. Amit Eshel witnesses a dramatic cliffside clash between two Nubian ibex. After hiking to a vantage point on the clifftop, Amit slowly crept closer, using a wide-angle lens to set the action of two clashing Nubian ibex against the dramatic backdrop. The battle lasted for about 15 minutes before one male surrendered, and the pair parted without serious injury. Canon EOS R5, 24–70mm f/2.8 lens @ 45mm. 1/800s @ f8, ISO 500. LEFT: Lights fantastic by Sriram Murali, India. Winner, Behaviour: Invertebrates. Sriram Murali showcases a night sky and a forest illuminated with fireflies. Sriram combined fifty 19-second exposures to show the firefly flashes produced over 16 minutes in the forests near his hometown. The firefly flashes start at twilight, with just a few, before the frequency increases and they pulse in unison like a wave across the forest. Canon 6D, 24mm f/1.4 lens. Multiple exposures of 19s @ f2, ISO 6400. Cable release, Manfrotto tripod.
| 26 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM W IL D LIFE P H O T O G R A P H E R O F T H E Y E A R : T H E W I N N E R S TOP TO BOTTOM: Face of the forest by Vishnu Gopal, India. Winner, Animal Portraits. Vishnu Gopal records the moment a lowland tapir steps cautiously out of the swampy Brazilian rainforest. Finding hoofprints on a forest track near his campsite, Vishnu waited nearby. An hour later, the tapir appeared. Using a long exposure and torchlight to capture texture and movement, Vishnu framed the tapir’s side-turned head as it emerged from the forest. Nikon D850, 14–24mm f/2.8 lens @ 14mm. 1/30s @ f6.3, ISO 1600, torch; Alpine exposure by Luca Melcarne, France. Winner, Rising Star Portfolio Award. The ice ibex. To enable an early ascent into ibex territory, Luca had spent a bitterly cold night in a temporary shelter in the French Alps, having skied for six hours across the natural park. Luca thawed his camera with his breath and took the ibex’s portrait. Nikon D850, 600mm f/4 lens. 1/5000s @ f4.5, ISO 640; Whales making waves by Bertie Gregory, UK. Winner, Behaviour: Mammals. Bertie Gregory tracks a pod of orcas as they prepare to ‘wave wash’ a Weddell seal. Bertie took two monthlong expeditions searching for orcas. ‘We spent every waking minute on the roof of the boat, scanning,’ he says. After battling high winds and freezing conditions, he captured this remarkable behaviour with his drone. DJI Mavic 2 Pro, 28mm f/2.8 lens. 1/120s @ f4, ISO 100.
FOR YOUR PREMIUM PHOTOGRAPHIC NEEDS WWW.KUDOSCAMERAS.COM.AU Owls’ road house by Carmel Bechler, Israel. Winner, 15-17 Years. Carmel Bechler discovered several barn owls in an abandoned concrete building near a busy road. Returning to where he had spotted a barn owl the previous year, Carmel and his father used the family car as a hide. He made the most of the natural light and used long exposure times to capture the light trails of passing traffic. Nikon D7500, Tamron 18–200mm f’3.5–6.3 lens. 1.3s @ f4.8, ISO 4000. | 27 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM
| 28 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P H O T O T I P S : S O R T I N G Y O U R IMA G E S
| 29 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM T hese days, our modern cameras all seem to fire away like machine guns, shutters roaring away while buffers and cards fill faster than you can blink. It means that most photographers now come back from adventures with hundreds or even thousands of images clogging up their cards or external drives. To give you an idea, if I am out on a morning street walk, I can come back with 80-100 images with my camera set to three frames per second (fps). If on a game safari, I could come back with 1000-2000 images! Some photographers shoot even more, with the camera blazing away constantly at 20-30 fps. It's too easy to overshoot and fill those expensive memory cards, and worse yet, have piles of unsorted images clogging up your hard drive. So, what do you do with all that data? And more importantly, how do you decide what to keep and what to ditch? FINDING A WORKABLE WORKFLOW First things first, regardless of how many images you capture on a shoot, if you do not have the right tool to view your results or download in a logical way, you will make things much harder. If you take the odd trip, or just short adventures, then iPads and even your phone can work as a quick storage/transfer and viewing device. But as you spend more time in the field, you’ll want an up-to-date laptop, with good RAM, core speed and storage space. New cameras are great, but they mean we are shooting more images than ever. How do you pick the best, manage the rest, and get rid of the trash? AP looks at how you can speed up your image sorting and storage. B Y D A R R A N LE A L P H O T O T I P S : S O R T I N G Y O U R IMA G E S
| 30 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM A fast laptop means I can sort, cull, and process most images before I return home. I love a big screen and I do not find it a hassle to carry as my main luggage and camera bag is lightweight. I recently updated my MacBook Pro to the 16” version, with 64GB of RAM, a 4TB hard drive and lots of core grunt. It cost a lot, but it makes my workflow more efficient, and with a bit of luck I won’t need a laptop upgrade for several years. Hardware sorted, now it is the software and the workings of the job that come into play. A few different styles of workflow are possible. The most important point is that it is logical and efficient. For myself, after a shoot, I connect my camera to my laptop and download my new images into a folder on my laptop named: ON TOUR IMAGES, via Lightroom Classic. I then have a subfolder for each trip. I’ll often run two to three tours/workshops to a region, so one subfolder might be India, and the next Madagascar. I download the images each day into the country folder. They automatically line up in date order. I do not use day-by-day sub folders. I’m even happy to mix two camera files. If a clash of numbers occurs, I just rename them. My files are based on time shot and date. THE CULL Next, it's about identifying the keeper shots. I also use Adobe Lightroom Classic to view and sort my images. Let’s say I have been on a shoot and I have captured 803 images. I start by importing and converting these to DNG. DNG (Digital Negative) offers a smaller file size than the original camera RAW, and as you process your images, it records the processing changes. Think of it this way – it's a smaller file at the best quality - perfect! Next, comes the cull. I look at my images via the line of smaller thumbnails at the bottom of the LR window. In some instances, I'll enlarge an image that interests me. Here's a tip – hit 'F' to view an image in the reel at fullscreen. When I find a keeper, I'll hit the number '1' key to rate it. This tells me it is good but not processed yet. I try to remember key images from my shoot. That moment when the eyes are looking at you, or the lion grabs its prey. Some of the other images around that hero shot might become part of the story. I will hit the number 1 key for these also, but I might not process them. I also hit the X key for images that are of no use. More on that shortly. LEFT: I love Adobe Lightroom Classic for sorting and finding key images. No matter which programme you use, the key is using it in a systematic and logical way. An efficient workflow can make all the difference to how you can edit, sort and process your work. RIGHT: When culling images, I’ll keep images captured at the same time with small changes. In this example, the lady was continually changing her head position, which was fantastic for me as I ended up with many usable images. I selected these images as one star for possible future use and processed another as the final five star hero image. I decided I would convert to B&W in Adobe Lightroom Classic and crop a little for a clean background. Lumix G9, Leica 12-60mm lens @ 48mm. 1/1000s @ f4, ISO 400. P H O T O T I P S : S O R T I N G Y O U R IMA G E S You might be wondering if I make use of the other star ratings – the answer, of course! Here’s how you can use them. • 1 star: A good image, not processed • 2 star: People • 3 star: Panoramas • 4 star: Video • 5 star: A processed, final image. E X P A N D I N G O N T H E R A T I N G S Y S T E M
| 31 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM “DNG(DIGITALNEGATIVE)OFFERSASMALLER FILESIZE THANTHEORIGINALCAMERA RAW,ANDASYOUPROCESS YOUR IMAGES, IT RECORDSTHEPROCESSINGCHANGES...” P H O T O T I P S : S O R T I N G Y O U R IMA G E S
I move on and repeat until I get to the end, marking any key shots with the 1 key. I then go to the filter at the bottom right and choose to display just the one-star images. I have now limited my search from the original 803 images to just the key few important images. At this point, I take my time, going image by image, to process and check for technicalities like sharpness. I check sharpness most often at 50% but will move to 100% for some. This may take a while but as I complete the processing for each image, I'll upgrade them to five stars by hitting the '5' key. Now I have a great starting point with a series of the best images, all easily identified as 5-star images from the shoot. These are ready to export. This whole process is quick, and If I do this every day during a month of travelling, I come home with most of my main processing already finished. One step I’ll often do later down the track is turn off the filter and return to the first image and start to look for any 'seconds'. Maybe I missed a hero image, or another image with potential. Like before, I give these a one-star rating, and then I’ll process them as before. My final check is to get serious on the previous criteria, and 'X'ing out images. By hitting the letter X, I am saying that this image is not up to my usual technical | 32 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM THIS PAGE: Rating your images as you go will save time and allow you to return easily to your important images. I photographed this sunbird nesting at our house in north Queensland. My workflow is simple – I use Filters to show the one star images, process those images, and once finished, rate them five stars. This means they are ready for any final use. At the bottom right you can see where I have filtered just my five star images, helping me to limit which images I would use in this feature. A simple and logical workflow will allow you to reach your creative goals. • Use fast cards to ensure you capture all the action. I use a series of cards with at least 180GB capacity and about 700MB p/s Read + Write speed • Use custom settings on your camera to quickly switch between high motor drive use for subjects like birds and action, and lower motor drive use for subjects like landscape and street • Review your workflow each year, as technology is improving constantly. A FE W MO R E C O N S I D E R A T I O N S
standard. Perhaps I missed focused, cut a head off, or have too many of the same image, etc. However, I am very careful as to what is 'greyed out' with the X. Historically, I have had film images with bad processing scratches. One that comes to mind is a brown falcon shot in central Australia in 1982. I kept the image, and in 1994 with Photoshop I fixed the scratch in a couple of minutes. I offered it to a publisher, and it was used in a bird calendar! THINNING THE HERD These days, I'm not bothered about keeping multiple, exact copies of the same subject, and especially so if I was shooting 20 frames per second. The same goes with technically poor images. But I will keep small variations between shots like head movements, or different background perspectives. That said, if I have 4-5 images that are the same head angle, then I will delete some, usually keeping just one or two. I say this because I'm never sure of the future use of my images. Plus, if I manage to capture a successful and rare subject, it would be to my advantage to have multiple variations. I can use one in this magazine, another in a new book, and a third on my website. Ten years down the track a buyer might like an image, but say "I love your whale shot, but I was after two whales in the image, not three". Guess what, I have that, plus I have a few more variations! SMASH THE TRASH! Remember those images that I hit the X button on? Those are the ones that are either not up to scratch, or I have too many copies of. It's time to take care of those. First, in Lr I hold down the Command (MAC) or Control (PC) button and then the Delete button. This will bring up all my X'ed images. In the dialogue box, I select Delete to Disk and it follows that command. It has placed all my unwanted images into the Trash. Periodically I'll then delete the Trash and they are gone for good. The culling is over! CLOSING THE WORKFLOW With that done, my result is a series of images neatly organised and rated, and all in one folder ready to be backed up when I get home. The first image I shot and kept is at the start of the folder or will appear first in the Library in Lr. I can scroll through the images while waiting at the airport, and easily move between unedited and edited images by filtering to display the oneor five-star images. Better yet, with a click I can filter to show the five-star shots, and up comes the very best of my latest adventure - I love this system! No matter which editing software you use, or filing/ processing system, make sure it's logical and systematic. This will guarantee you can keep up with the larger image capture rates and quantities of images we're all capturing these days, and it will also help you to keep up to date, and able to find images quickly and efficiently. C | 33 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P H O T O T I P S : S O R T I N G Y O U R IMA G E S
| 34 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y
| 35 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM F or many of us, our knowledge of police photography extends as far as what we see on TV. Shows like CSI, and gritty courtroom dramas, where photographic evidence turns a case on a dime, have given us a view of the profession that suggests this work is as simple as turning up to a location and photographing the aftermath of crime. And while this is a part of the job, the reality for the forensic photographers from the AFP’s Forensic Search and Imagery team is that no two days are ever the same. The role can cover anything from assisting police in foreign countries with identifying the dead, to scanning plane wreckage, and photographing people for biometric comparisons. Simone Reynolds, Team Leader at the AFP’s Canberra HQ describes her team as small and specialised, and ready to be deployed at a moment’s notice around Australia and the world. The team takes thousands of photographs each year. In a rare interview, AP meets with the Australian Federal Police to find out more about what occurs behind the lens of the thin blue line. B Y R O B D I T E S S A THELENSBEHIND
| 36 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y Ultimately, she says, the role of the forensic photographer is to record objectively a scene, evidence, or a person. “In the first instance, it is to create a visual record, captured at a specific moment in time, after the incident has occurred and before a detailed examination takes place. Then the examination and location of evidence is recorded in a systematic and methodical manner.” This visual record could mean anything from scenes relating to property crime, such as stolen vehicles, burglaries, and theft; armed robberies, sexual assaults, fire and bomb scenes, deaths, suicides, homicides, accidental deaths including drownings, and post-mortems; clandestine drug laboratories, organised crime warrants; forensic procedures on victims and suspects, through to disaster victim identification, and terrorism incidents. In her current role, Reynolds has worked across various difficult investigations, and she has been deployed overseas to aircraft crashes, terrorism incidents or to assist local authorities with specialist scene examinations. It’s something Reynolds continues to find confronting. Her training was tested in October 2013 when a Laos Airlines flight crashed in Southern Laos, killing all 49 on board, including six Australians. “I was required to photograph and record the remains of the passengers,” she says. “This was one of the more difficult incidents for me, as it involved young children and babies.” Obviously, she reflects, traumatic scenes are confronting and always difficult to photograph, and mortuaries and hospitals are difficult environments to work in. At the same time, her work can also assist overseas investigations, such as in 2009 when an Airlines PNG Twin Otter charter plane crash killed 13 people, including nine Australians. At the time, the ABC reported that all were on their way to walk the Kokoda Track. “I was based in Australia and photographed the dental records of the Australian passengers on a light box with a digital camera so that we could quickly send the images to PNG to assist with the rapid identification of victims,” she recalls. “Prior to digital technology we would have had to send someone to deliver the X-rays by hand to PNG, which would have taken a couple of days instead of a couple of hours.” However, few jobs could ever compare to capturing the aftermath of the 2002 Bali Bombings. “I examined and photographed inside the house where terrorists constructed the explosive device for the bombings,” she recalls. “It was one of the more stressful crime scenes I have attended, given the gravity of the incident and the fact the AFP was assisting Indonesian authorities.” “We had restricted time at the scene, so I had to take as many photographs as I could in a short period of time. We were still using both film and digital cameras at this stage. In the end, I used a small compact digital camera for some of the scene shots as a backup in case there was a problem with the film.”
| 37 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y TOP LEFT: In addition to their cameras, crime scene investigators carry a multi-purpose forensics kit for their work in the field. This can include fingerprint brushes and powders in different colours for different surfaces and contrasts, DNA sampling kits (swabs), PPE (gloves), rulers, fingerprint lifting tape rolls, gel lifts (similar to tape and mostly used for shoe marks), evidence envelopes, hazmat bags, evidence tape, glass vials for evidence collection and a paint sample collection kit. ABOVE: A typical camera kit for a crime scene photographer. Nikon D500 with a Nikon AF-P Nikkor 18-55 millimetre VR lens, SB5000 flash, as well as an AF-S Micro 60 millimetre VR lens and an AF-S Micro 105 millimetre VR lens. LEFT: The aftermath of the 2002 Bali bombings. The AFP conducted a joint investigation with the Indonesian National Police, trying to uncover the evidence necessary for investigators to charge those involved in the attack. • Nikon D3s, D500, D700, D300, and D200 DSLR camera bodies • Nikon 60mm, 105mm macros, 17-35mm, 17- 55mm or 24-70mm, and 14mm • Nikon SB5000 Flash, bracket hot shoe • Light meter, cable release, SD cards, grey card and batteries • Tripod for low light conditions, 1:1 photography of marks, particularly 3D impressions when greater depth of field is required • UV/IR torches and powered lighting to identify blood stains and patterns, including fingerprints and shoe marks in blood • A variety of scales, rulers, and measuring tapes, including an L-ruler, straight ruler, adhesive scales, and a 2m vertical measuring scale. T H E K I T
As these investigations show, the scope and use of forensic photography is surprisingly wide and varied, and that is just in the field. Back in the office, detailed images of fingerprints and faces may be used for biometric comparative purposes, and non-biometric comparisons, such as fracture fits, pattern match, pattern continuity, tool mark comparisons, shoe, and tyre mark comparisons. Reynolds explains that these images may be used to record details of evidence such as its location, description, and its condition. It also captures police evidence numbers, markers, unique identifiers, and the condition of any evidence packaging. And this is all before the more traditional uses that movie and TV viewers will be familiar with, such as the use of imagery in court. THE FIELD WORK Police photographers do not get to choose the lighting conditions, weather, or time of day when they work, and they almost always need to work quickly and very, very thoroughly. At the scene some things are immediately important, such as clear evidence, marks, significant items, street signs and house numbers, and anything that can prove visually that the evidence collected was at a specific location. Other items may emerge as important later in an investigation. That is why it is so vital that scenes are photographed comprehensively. Arriving at a scene the forensic photographer will first liaise with other investigators to develop an examination plan. Reynolds explains that recording the scene is generally the first step in the examination plan. Then, once the order in which the scene will be examined and evidence will be collected has been determined, the photographer will use number markers, labels, or other visual aids, to help locate evidence within a scene and give each evidence item a unique identifier. The photographer will then record the scene with photography, and in relevant notes. “Generally, for every area or item of interest there will be at least three photos, close-up, mid-range, and overall. “We must be able to assist people who view the images, including investigators, lawyers, or a member of a jury, to orientate themselves within a scene and understand the location of critical evidence in relation to areas of significance. This can include the location and orientation of say a shoe impression left by an offender near the body of a deceased person.” Another technique is to ‘corner a room’ which means taking images from each corner of a room of interest, ensuring there is overlap in the images so that the viewer can orientate themselves between images. Number markers are very useful in aiding with this. “For scene images, we must ensure images accurately depict the scene,” explains Reynolds. “They cannot be over or under-exposed and we need to ensure the white balance is correct for ambient light | 38 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y TOP: An AFP member examines a piece of the MH17 fuselage in Ukraine. The AFP, along with the investigative authorities from Belgium, Malaysia, Ukraine and the Netherlands, formed a Joint Investigative Team following the downing of Malaysian Airlines flight MH17. ABOVE: Investigators carry their cameras in backpacks loaded up with the camera, lenses, extra batteries, additional connection cords as well as extra memory cards.
| 39 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y • Having the right attitude is very important. Personal attributes would include attention to detail, good spatial awareness, and the ability to plan, and be methodical. Being flexible and adaptable is also an asset • Things can change quickly during a job, and you may need to adjust a plan without warning. You need to be physically fit and psychologically resilient, as it can be difficult work. There can be a lot of crawling, squatting, climbing, and squeezing into small spaces, and, of course, you can spend a lot of time at traumatic and confronting scenes • In addition, to be a crime scene investigator in the AFP you need a tertiary qualification in science, and to be an imagery specialist you require a degree in photography • Additional training and qualifications in highspeed photography, 360-degree imagery and virtual reality, VR, and augmented reality, AR, are also desirable. W H A T I T T A K E S T O B E A N A F P P H O T O G R A P H E R “ANYDIFFERENCE BETWEEN MYPHOTOSAND A WITNESSSTATEMENT MAYBECOMEANISSUE RAISEDINCOURT,SUCH AS ANITEM BEINGDESCRIBED AS REDBUTAPPEARING ORANGEINPHOTOS...” so that colours are correct. This may be important for witness statements. “Any difference between my photos and a witness statement may become an issue raised in court, such as an item being described as red but appearing orange in photos.” TRICKS OF THE TRADE With images that will be used for comparisons, forensic photographers will try to maximise the contrast between the mark, for example, a fingerprint, and the surface. “We can use different coloured fingerprint powders depending on whether the surface is dark or light, transparent or opaque. We also have florescent powders if the surface is multi-coloured, for example, black and white print, and will use a UV light to illuminate these,” she clarifies. To photograph at night or in darkened areas, the team use tripods with timed or long exposures and will ‘paint’ with light in poorly lit or unevenly lit outdoor scenes. But the use of flash must be carefully controlled, as uneven lighting can greatly influence the final image.
“Generally, painting with light is used for dark outdoor scenes and scenes with uneven lighting, such as a vehicle on a dark road, or a firearm or knife in an alley,” she explains. In some cases, photographers will use a torch to direct and bounce light, always considering other light sources and reflective surfaces and how these can influence the final photo. Using an off-camera flash helps visualise surface detail for 2D or 3D fingerprints and shoe marks. “It’s important we use different levels of flash across a scene to create even lighting across the image, rather than having full flash from one direction giving harsh shadows and bright flares or hotspots,” she says. The aim is to reduce under or over-exposed areas in the one image, while also maximising detail that can assist the investigation or the court. “We have also used this technique to overlay a laser on the image of a scene to record the trajectory of a bullet at a shooting,” she adds. CAMERA CRAFT When it comes to image capture, the team’s preference is to use manual mode. However, this makes the photographic process more time consuming as the photographer will often be moving from outside to inside for example, and through rooms. Some environments may have fluoro lights, others LED, and others no lighting at all. | 40 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y
“We are often busy managing the whole crime scene, so using some auto functions can assist with efficiency, such as auto white balance.” Reynolds adds, “Aperture priority is also useful, as depth-of-field tends to be quite important to ensure all the relevant details of an area or item are in focus. ISO tends to not exceed 400 to avoid any loss of fine detail.” IMAGE USE Interestingly, the team has chosen to just capture JPEGs rather than RAW, following issues with file compatibility and improvements in camera technology and resolution. And while the team are long since converts to digital photography, Reynolds does note that it can be a little too easy to take too many images, rather than spending time framing the best shot. The number of images typically taken at a crime scene depends entirely on the job. A more complex incident such as a homicide or an incident that involves multiple scenes over multiple days, such as incident location, secondary location, and vehicle involved in the incident, for example, can often mean hundreds of images are taken. IMAGE PROTECTION Security and integrity of the images is, as you would expect, vital. “We have very strict image management procedures so we can provide evidence that images were not manipulated, and to prevent images being accidentally deleted. After capture, images are uploaded to our forensic management system. This system and other similar systems used by other law enforcement agencies log access and any changes made and are auditable by regulatory bodies if required. It means we can log and track any time an image is accessed,” she explains. Secure storage of images is also a priority. “We identified very early that proprietary formats and file compatibility was a potential concern, so we are focused on developments in digital technologies to forecast and manage any potential issues. “We have developed very stringent standard operating procedures, and we regularly assess those against developments in technology,” she explains. “We used to create two copies of all images and save those on CDs or DVDs in different areas, one for archival purposes and the other for case officers, defence, and prosecutors.” A REFLECTION Reflecting on what is obviously to outsiders one of the toughest jobs in photography, Simone Reynolds has a simple message. ‘It’s a real honour,’ she believes. “Serving the community is what drives you – but your ability to help the most vulnerable in our community is what makes the job easier during the tough jobs,” she says. C | 41 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: A F P F O R E N S I C S E A R C H A N D IMA G E R Y The FS&I team is a small specialised team within AFP Forensics and is based out of the central AFP commands in Brisbane, Sydney, Canberra, Melbourne, Adelaide, Darwin, and Perth. T H E T E A M LEFT: Crime-Lite is an alternate light source used by crime scene investigators in the AFP. The specialised torches come in a variety of wavelengths that produce different colours and are used to highlight different substances that may not be visible on materials under normal light.
| 42 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM What do you buy for the photographer who has everything? More photography gear of course! These are our picks, from bigger ticket items to non-boring stocking stuffers, that’ll keep shutterbugs happy this Christmas. T H E A P T E A M PEAK DESIGN CAPTURE CLIP $139.95 Peak Design describe the Capture as the most secure, convenient, accessible way to carry your camera, period, and there’s definitely some truth to this bold statement. If you’ve never used one, it’s worth giving it a try as it really can speed up the act of getting your camera out and ready to shoot. The Capture system includes two components: a metal clip that clamps to any backpack strap, belt, or bag, and a tripod-compatible plate that screws into the bottom of your camera. Your camera smoothly locks into the clip, where it is held rigidly and securely. From there, it’s as simple as pressing the lockable quick-release button to remove. More info: peakdesign.com/products/capture
| 43 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM T H E A P C H R I S TMA S G IF T G U I D E BILLINGHAM HADLEY PRO SMALL CAMERA BAG $490 There’s a reason camera bag manufacturer Billingham has been making camera bags for more than 50 years – the company’s products are beautifully made and last a lifetime. One of the company’s best-selling bags, the Hadley Pro small is the same size inside as the Hadley Small but comes with additional ‘pro’ features such as a top handle. The Hadley Pro will fit a small to mid-sized DSLR or compact system (mirrorless) camera and two to three small to medium lenses. It’s also made in England with 3-layer waterproof fabric and real leather. If you want to spoil the photographer in your life with a gift that will become a real heirloom, this is a great pick. More info: kudoscameras.com.au/collections/billingham-hadley-small-pro 3 LEGGED THING UNIVERSAL L-BRACKET $123 It may only do one thing, but damn, does the 3 Legged Thing L-Bracket do it well. Designed for photographers who want a simple L-bracket to move quickly between portrait and landscape orientation, the 3 Legged Thing L-Bracket is compatible with standard Arca Swiss style clamps, and comes in versions to fit almost every camera money can buy. More info: 3leggedthing.com/row/lbrackets/universal-l-brackets.html POLAROID GO INSTANT CAMERA $169.95 Polaroid’s Go may be the instant camera company’s entry-level model, but it still delivers the feel-good vibes both photographers and aspiring photographers love. The 34mm equivalent lens makes it a perfect everyday focal length ideal for family photos, while its Selfie-mirror and self-timer modes, and nifty double exposure feature are easy-to-use and creative. The Go comes with a USB charging cable and wrist strap. More info: instant-camera.com.au/product-category/polaroid/instantcameras/go/
| 44 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM T H E A P C H R I S TMA S G IF T G U I D E POLAROID NOW+ GENERATION 2 $329.95 If you thought the Polaroid Go was cool, wait until you see the Poloroid Now+. Totally revamped, but retaining the analogue instant vibes, the Now+ comes with five new lens filters, and two extra tools that photographers will love— aperture priority and tripod mode — inside the Polaroid mobile app. This functionality allows for light painting, double exposures, manual mode and more. It also comes in a retro styled classic design, made with 40% recycled materials. The Now+ is compatible with Polaroid i-Type and 600 film in the original Polaroid instant film format. More info: instant-camera.com.au/productcategory/polaroid/instantcameras/now HOBOLITE MICRO STANDARD KIT $349 There’s something about retro-inspired designs that make even mundane things look cool, and the Hobolite Micro may just be the coolest looking piece of lighting gear we’ve ever seen. But this is not just a gorgeous looking piece of kit, it still delivers a hefty 8W output across the full-color spectrum, providing efficient illumination of up to 500lm, and all this despite its tiny, pocketable size. It’s also equipped with a removable battery, and comes with a set of those nifty little barn doors too. More info: hobolite.com/products/micro OKKO PRO MAGNETIC FILTERS $30.00 - $235.00 The OKKO Pro Magnetic range is one of those bits of photography kit that you use once and instantly love. It allows photographers to quickly change between different filters; no screwing around, just magnet on. In addition, top quality glass and an ultra-thin frame protects your lens from dust, grit and rain. And here’s the best bit - if you break it, Okko will replace it for free - even better than a lifetime warranty. More info: okkopro.com.au
| 45 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM T H E A P C H R I S TMA S G IF T G U I D E LUCKY STRAPS DELUXE 45 PADDED LEATHER CAMERA STRAP $199 Australian camera strap company Lucky Straps describes the Deluxe 45 as the best camera strap it has ever made, and it's hard to argue with that – it’s beautifully crafted and made locally too. The Deluxe 45 features a Quick Release System with safety locks, anti-theft cut resistant Dyneema webbing and a safety lock. It’s the perfect width for a mirrorless camera but comes with supple padding for carrying heavy premium lenses available with newer full frame and medium format systems. You can even personalise yours with a name orlogo and add a matching Quick Release Wrist Strap in exactly the same colour-way as your Deluxe 45 strap – classy. More info: luckystraps.com/collections/deluxe-45-padded-leathercamera-straps TED’S ROCKET BLOWER $19.95 Is this the ultimate secret Santa gift for a photographer you know in your workplace? It might just be. A most useful camera accessory, a rocket blower will help you clean all your camera gear including cameras, lenses and filters, and is one of those cheap camera accessories I can’t live without. Except for right now, as my kids have pinched it to play with in the bath. Luckily at around $20 they won’t break the bank (the blower that is, the kids definitely will...) More info: teds.com.au/teds-rocket-blower POLAROID I-2 INSTANT CAMERA $1095 We know, we know, we’ve already featured two other Polaroid cameras – but we had to make space for the Polaroid I-2 - the first analog instant camera with built-in manual controls. Your grandparents instant camera the I-2 is not, with it packing six shooting modes and a built-in OLED display, as well as the ability to control aperture and shutter speed. In addition, the I-2 has Bluetooth and a smartphone app, which can also control the camera, it charges via USB-C, is compatible with 49mm filters, and also has a tripod mount. It’s also the first instant camera to support i-Type, 600, and SX-70 film. Polaroid describe the I-2 as perfect for the tactile pursuit of analog photography, and it’s hard to disagree – we’d love to get one this Christmas. C More info: instant-camera.com.au/product-category/polaroid/instantcameras/polaroid-i2-camera/
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| 48 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM WHAT SPARKED YOUR INTEREST IN PHOTOGRAPHY? My interest in photography was gradual, so I can’t pinpoint one moment. I remember, with fondness, a cheap, throwaway camera that my parents bought me when I was about five or six years old. This experience probably planted the initial seed within me to want to be a photographer. Also, I have an older cousin who is a talented photographer whose work I admired when I was about 11. And so, when I was 12, I used the money I had raised from my newspaper route to buy myself a used Canon EOS Rebel T2i from a local hock shop (pawnbroker). At first, I took pictures of anything and everything, such as cobwebs with raindrops on them, flowers, and my cats. However, I rememberthatI especially enjoyed taking photos of children. HOW DID THE PROJECT OF PHOTOGRAPHING THE HOMELESS START? Shortly after I took up photography, I was going to quit. I didn’t think my work was any good. But my dad saw my potential and arranged an online consultation between me and Joel Sartore, the well-known National Geographic photographer and FellowafterI had previouslywatched his DVD course ‘Fundamentals of Photography.’ Joel encouraged me to continue and has been my mentor ever since. When I was about 15, Joel told me that, from his experience, all successful photographers focus on one genre or another and that, in his opinion, my strength lay in portraiture. At first, I began photographing seniors in nursing homes. However, because I had to get written permission from the children of these individuals, this wasn’t very practical. At this time, my dad stumbled upon the work of the British photographer Lee Jeffries, who photographs people experiencing homelessness and suggested I do the same. A week later, with my dad at my side, I was photographing these people in nearby Toronto. That was eight years ago. WHY IS IT IMPORTANT TO YOU? Admittedly, I first began photographing people experiencing homelessness for purely artistic reasons. However, as I got to know them and heard their stories, my empathy for them grew. Now I want to help them. My two goals are to both humanise them and shine a spotlight on their plight. It’s a shame that, although people experiencing homelessness are often wonderful people with fascinating stories to tell, most people ignore them. They turn a blind eye and a deaf ear to them. I am trying to rectify that problem. Canadian teenager Leah Den Bok is turning heads with her powerful images of people experiencing homelessness captured across Canada and the US. We sat down for a chat with the 23-year-old to find out how she got started, and how her photography is raising funds for the most vulnerable. B Y M I K E O ’ C O N N O R P R O FILE: LE A H D E N B O K THEPOWER OF
| 50 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM