| 51 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM This work is also important to me because my mother was once homeless as a young child of three in Kolkata, India. As the front-page story of the Toronto Star stated in 1997, she was ‘Saved—By Mother Teresa.’ After being raised by Mother Teresa in Nirmala Shishu Bhavan, her orphanage in Kolkata, a family from Ontario, Canada, adopted her. Mother Teresa, who spent her whole life helping the people she called “the poorest of the poor,” is now, understandably, one of my heroes. I have taken her saying, "If we judge people, we have no time to love them,” as the motto for my mission. WHAT DO YOU LOOK FOR IN A SUBJECT? I look for individuals whose faces tell a story. Because of this, I don’t photograph every person experiencing homelessness whom I encounter on the street. Some people are surprisedwhen Isay this, butI am an artist first and a homeless advocate second. I once did a photo shoot at a shelter and asked its director not to tell anyone I was coming. Unfortunately, the word got out. As a result, when I got there, everyonewasshowered,well-groomed, and dressed in their best clothes. None of the photos were usable. Whenever possible, I prefer photographing people experiencing homelessness in their natural environment where they are most comfortable. However, sometimes, I ask them to move if the lighting isn’t desirable. I don’t want them to pose but to be themselves. It helps that while I photograph them, my dad, or, lately, my partner Alejandro, asks them questions. This allows them to relax and not fixate on the camera, even though I ask them to look at it. HOW DO YOU APPROACH THEM? For most of the eight years that I’ve been photographing people experiencing homelessness, my dad has been the one to do this. However, lately—because of all the travelling I’ve been doing—this task has fallen upon me or my partner Alejandro. Once we come across someone I want to photograph, we will approach them and, after introducing the two of us and explaining my project to them, ask them if I could photograph them and ask a few questions. Usually, they say yes, although about 20% of the time, they say no. CAN YOU TALK ABOUT YOUR IMAGE CAPTURE/EDITING TECHNIQUES? When capturing images, I first introduce myself and the project to the individual. If they are interested in being part of the project, we find a suitable spot or set up a backdrop where they can sit comfortably. While whoever is helping OPENING SPREAD: Zaks, Los Angeles, USA. Sony A7R Mark III, Sony FE 24-70mm F/2.8 GM lens @ 44mm. 1/2500s @ f2.8, ISO 1000. LEFT: Begun and Mamuni, Darjeeling, India. Sony A7R Mark III, Sony FE 24-70mm F/2.8 GM lens @ 44mm. 1/125s @ f9, ISO 1000. BELOW LEFT: Gisell, Toronto. Fujifilm X-H1, XF56mmF1.2 R lens. 1/4000s @ f1.2, ISO 200. BELOW RIGHT: Mary, Toronto. Canon EOS 6D, EF24-70mm f/2.8L II USM lens @ 70mm. 1/250s @ f11, ISO 1250. P R O FILE: LE A H D E N B O K
and, sometimes, white backdrop. I think stripping my photographs of colour and employing chiaroscuro is also the best way to capture street life's harsh, gritty reality. WHAT ADVICE WOULD YOU HAVE FOR PEOPLE WHO WANT TO TAKE IMAGES LIKE YOURS? I believe in Gladstone’s 10,000-hour rule that it takes about 10,000 hours to master a skill, whether it be photography, piano playing, or chess. So, anyone wanting to achieve their full potential as a photographer should expect to put their nose to the grindstone for several years. Also, if they decide to photograph a vulnerable segment of society, as I am doing, they need to make sure their heart is in the right place and avoid even the appearance of exploiting these people. They should still expect criticism. But at least they will know these attacks are unjustified. WHAT’S YOUR MOST MEMORABLE PHOTO? I’m not sure if I could pick just one. There are several. However, one such image is Homeless Man & Dog, which I took during my first trip to NYC in 2017. I wasn’t happy with any of the photos I had taken during my photo shoot of the two. They were all too posed. However, as we walked away, my dad—or, perhaps, my mother—glanced back and saw the man swoop his dog up in a loving embrace. Upon seeing this, I immediately ran around and snapped what has become, by far, my best-selling photo. C me talks to the person and gets to know them better, I photograph them continuously to capture natural expressions. For the images that make it to the book, my father and I go through the pictures and select the ones that best showcase the individual's personality and story. We then choose one image to be edited in Photoshop. During post-processing, I make the background entirely black, turn the image black and white, and enhance the shadows and highlights to bring out the best in the image. WHAT GEAR DO YOU USE? My gear has evolved over the years. I started with a used Canon T2i (550D) with a kit lens and shot my first book. As I gained more experience, I upgraded to a Sony A7R III with a 24-70mm G master lens. This has improved my shooting capabilities and the quality of my images. In terms of lighting, I started with natural light and then used a speedlight with a softbox and grid for a few years. Now, I am back to using natural lighting. For the backdrop, I tape a black fabric to a wall with some duct tape. WHAT ARE SOME OF THE CHALLENGES WITH YOUR PROJECT? For the first couple of years that I took pictures of people experiencing homelessness, I was frequently criticized on social media for exploiting this population for my gain— even though I donated 100% of the profits from the sale of my books and photographs to homeless shelters and pay my subjects $10 CAD. As I was only a teenager then, this was quite upsetting. When I talked with Joel (my mentor) about the problem, he said, “There will always be haters,” and advised me to ignore them. Interestingly, I rarely receive such comments anymore. Just recently, one of Canada’s leading photojournalists wrote of my work, “The world is replete of dilettante photographers producing slavish, hackneyed, formulaic images. These images are demonstrably not in that category. Quite the opposite. Leah’s work shows visual literacy but also integration, compassion and respect for people given the intimacy of the photographs.” I’ve also been told my work isn’t very saleable. Recently, while in NYC, a friend approached a gallery owner about being my agent. Although she was very enthusiastic about my work—even commenting that the media attention I have received is unprecedented for someone my age—she said she couldn’t represent me because my work is a “hard sell.” Another art dealer, this time in Toronto, also said he couldn’t represent me for similar reasons. WHY BLACK AND WHITE? From the German artist Käthe Kollwitz, I learned the importance of communicating emotion through the subject’s eyes, facial expressions, and hand gestures. I don’t want anything (e.g., colour, background clutter, etc.) to distract from this. To eliminate this possibility, I prefer to photograph in black and white and use a black | 52 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: LE A H D E N B O K
100% of the profits from Leah’s work is donated to vulnerable communities. Leah's books can be purchased on Amazon and Barnes & Noble, or by contacting her at humanizingthehomeless.org. S EE MO R E O F LE A H ’ S W O R K | 53 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM P R O FILE: LE A H D E N B O K ABOVE: Homeless Man & Dog, NYC, 2017. Canon REBEL T5i (550D), Canon EF 24-70mm f/2.8L II USM lens @ 44mm. 1/125s @ f4, ISO 100. RIGHT: Dana, Toronto. At the beginning of my photoshoot with Dana, I told her that I was trying with my photographs and stories to humanise people experiencing homelessness and shine a spotlight on the problem of homelessness. In reply, she said, “There’s not enough awareness. Raising awareness is certainly a good thing, isn’t it?”
P anasonic's S5 from 2020 was a 24MP full-frame mirrorless camera built around the same sensor as the Panasonic Lumix S1, but in a smaller, more affordable body. It was a solid camera, but it had a weakness that has long been a bug bear for many Lumix users - like Panasonic's GH series, it used a contrast-based depth-from-defocus autofocus system rather than a more reliable phase detection (PDAF) autofocus system. But that's a thing of the past with the Lumix S5 II which, along with a more video-centric camera announced at the same time, the S5 II X, features a PDAF system for the first time. But that's not all. Other features over its predecessor include a newly developed 24.2-megapixel sensor and new T E S T E D : P A N A S O N I C L UMI X S 5 I I be tailored to your own style - it gives you the freedom to have fast access to the features you love. Measuring 134.3 x 102.3 x 90.1 mm and weighing 740g, the S5 II is a bit larger and heavier than its predecessor which came in at 630g. According to Panasonic, this is because of a new low-profile heat management system which allows for its unlimited video recording times. But remarkably, it's actually physically smaller than the GH6. That said, there are some changes. A new 8-way joystick and 3.0-inch free-angle touch-control monitor, and a large, 3,680K-dot OLED Live viewfinder are welcome additions. It's worth noting that unlike the bigger S1-series, there's no top-plate LCD screen on the S5 II. Finally, the weatherproofing appears to be as good as its predecessor. That means it's splash and dustproof, with all the main seams sealed against moisture. PANASONIC LUMIXS5 II Panasonic has finally jumped on the phase detection autofocus bandwagon. But have they nailed their shot, or missed the mark? Tim Robinson finds out. imaging engines, an increased buffer memory size over the original S5, a 200% more effective IBIS system, a 96-megapixel high resolution mode, and improved video features, to offer what appears on paper at least, a much more well-rounded camera. After using the original S5 for a fewyears, I was excited to see how the new camera would perform, and especially so in harsh environments and with unpredictable subject matter like birds and crocodiles. And, on a recent trip to the Northern Territory, I had the S5II in my hands for the first time to try it out. THE BODY First off, this camera feels great in the hand. It's almost identical to the S5, and that means it keeps the control layout so if you are upgrading, then this setup will feel very natural to you. I especially like that there are a stack of customisable buttons and dials, which can | 54 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM
IMAGE QUALITY The new improved 24.2MP sensor has a faster read out and improved dynamic range over its predecessor, and in my testing I found it delivered great low light performance. It also has dual native ISO, so you can push the camera that little bit harder in low light settings. As an example, I was shooting bats during last light at ISO 10,000 and the images held up well, and even better once I used Adobe Lightroom Denoise. In fact, significant noise only really appeared at ISO 12,800. Finally, the IBIS system in the S5 II is very impressive. Panasonic has always been at the forefront of image stabilisation technology for mirrorless cameras, and the S5 II's 5-axis image stabilisation system delivers up to 6.5 stops of shake reduction. This came in especially handy when shooting from a moving vehicle like a boat or plane, or if I wanted to shoot longer exposures handheld. I was able to capture sharp images with exposures of up to one second handheld - very impressive. It's also worth mentioning the usefulness of the High Resolution Mode. This combines eight shots into a 96 megapixel image to create a 12000x8000 pixel super high-resolution photo. The resulting Raw files are a whopping 165Mb in size, but as you might expect are best reserved for static subjects. AUTOFOCUS Don’t get me wrong, the autofocus in Panasonic's previous cameras wasn’t terrible, but it simply couldn't compete with other brands when used in action or wildlife situations. I'm pleased to say that's changed with the S5 II. Built around a 779-area metering system, the S5 II is able to detect subjects in difficult conditions including low-light and backlit situations, and track them pretty tenaciously. T E S T E D : P A N A S O N I C L UMI X S 5 I I RIGHT: A Crimson Finch enjoys breakfast in Darwin. Panasonic Lumix S5 II, Sigma 150-600mm F5-6.3 DG lens @ 600mm. 1/2000s @ f6.3, ISO 6400. | 55 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM
Combine this with up to 30 frames per second shooting using the electronic shutter, and you have a formidable camera for wildlife and sports photography - something you could probably never say about a Lumix camera before. There's also no sign of that characteristic (and frustrating) "pulsing" effect found in the S5 or the G9 as the AF system scans back and forth. Instead, you'll find a solid system that just works. As you might expect, the camera has an AI animal detection mode, which is great for tracking raptors in flight or locking focus on a tiny Kingfisher hiding in the shadows along the bank of a billabong. It also has human body and eye detect modes so it should have you covered for studio and event coverage too. VIDEO As a full-time video producer, I can’t ignore the video specs of the S5 II. With internal 4:2:0 10-bit 6K (3:2) and 5.9K (16:9) at 30fps and 4:2:2 C4K and 4K T E S T E D : P A N A S O N I C L UMI X S 5 I I at up to 60fps, it holds its own nicely, and especially so as it has unlimited recording times. The S5 Mark II also provides HFR (High Frame Rate) recording at up to 120fps and slow and quick capture at up to 180fps, which are welcome additions. Of course if you want the beefier codecs for high end video production, then they can be found in the S5II X, although you do pay a premium for that camera's more video-centric features. It also features the V-Log profile and allows you to burn in your own LUTs in camera. The active I.S. technology allows you to shoot shake free footage, even when walking, so you can leave the tripod at home next time you are going for a hike. On video recording, I had no issues with overheating, something that was a challenge in the heat of Kakadu. In fact, a member of our group had issues with overheating whilst shooting video, while the S5 II never skipped a beat. THE WRAP-UP It’s been almost five years since Panasonic entered the market with a full frame sensor camera, and I was an early adopter, adding the S1H and later the S5 to my kit. But it's not until now that the S series has really matured. At this price point the S5 II is a very capable all-rounder, but if you want to unlock the full video capabilities, be sure to select the X model. C | 56 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM RESULTS HANDLING ) ) ) ) Panasonic didn't make many substantive changes to the design for the S5 II, and it remains well laid-out and well-built. FEATURES ) ) ) ) Stacked. This is a feature-rich camera that’ll capture most subjects with ease. AUTOFOCUS ) ) ) ) A big improvement over its predecessor, it works well, but perhaps not quite as efficiently as its fullframe rivals. IMAGE QUALITY ) ) ) ) Image quality holds up strongly through ISO 6400, but sometimes you might wish for a few more megapixels. VALUE FOR MONEY ) ) ) ) At an RRP of $3,199 (although now available for cheaper if you hunt around), the S5 II is good value for money. FINAL WORD There is lots to love about the S5 II, but the standout feature has to be that new autofocus system. It means Lumix is now a serious contender to the other big brands in the industry, and especially in the hybrid space. 8 S C O R E SPECS Sensor CMOS Sensor Format Full-Frame Resolution 24.2MP Lens mount L-Mount Autofocus 779-Point Phase-Detection AF System LCD 3.0" 1.84m-Dot Tilt/Free-Angle Touch-LCD Viewfinder 3.68m-Dot 0.78x-Magnification OLED LVF Video 6K30p 4:2:0 10-Bit Video Recording, C4K/4K60p 4:2:2 10-Bit Unlimited Weight 658 g (Body Only) Storage Dual UHS-II SD slots Price $3,199, body only More info panasonic.com.au ABOVE: A Whistling Kite flanked by two Black Kites. Panasonic S5 II, Sigma 150-600mm F5-6.3 DG lens @ 150mm. 1/2500s @ f5, ISO 320.
T E S T E D : U L A N ZI V L12 0 R G B LE D V I D E O LI G H T | 57 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM RESULTS BUILD QUALITY & DURABILITY ) ) ) ) Excellent overall build quality and it has proved durable. FEATURES ) ) ) ) If only it could sing and dance too! The different lighting and colour options are like a mini creative wand in your hand. IMAGE QUALITY ) ) ) ) You can create great tabletop images with this light, especially of you have more than one and play around, although their power and range is limited. VALUE FOR MONEY ) ) ) ) ) Superb value for money, and cost about the same as a second battery for more expensive lights. FINAL WORD Cheap, fun and creative – what’s not to like? The Ulanzi VL120 is simply great to use. Just $60 for a compact battery fill light? Surely, there’s a catch. Steve Thomas tries out Chinese manufacturer Ulanzi’s powerful, yet cut-price, video light. B e it for photography or videography, having a multicoloured fill light in your pocket can prove invaluable in countless scenarios. Ulanzi are a Chinese brand known for making great value budget priced and decent quality products. I was intrigued by Ulanzi’s quirky and cheap VL120, a compact RGB LED video light, and at an RRP of just $39 USD ($60 AUD) I had to give it a shot – primarily as a fill light for tabletop and food photography. THE TECH Measuring 10.6cm x 6.6cm and being around 1cm thick and weighing in at 120g, the Ulanzi VL120 video/fill light is around the size of a smartphone. It’s made from durable plastic with a built in USB-C charged 3100MAH battery and diffuser, and it has an ¼ screw mount (with a cold shoe adaptor supplied). In addition, it has 42 LED lights that are controlled by an on-off switch and two dials. The lights are adjustable between 2500K-9000K and can be switched between 20 different modes, from standard colours to flashing and pulsating modes. There is also a charging cable and silicon diffusor included. ULANZI VL120 RGBLED VIDEO LIGHT BUILD QUALITY Although it’s entirely plastic, there’s no doubt that the VL120 is still a sturdy and robust light. I’ve managed to drop it countless times and so far, it hasn’t even blinked. That said, there’s no promise of any kind of weatherproofing with the Ulanzi, so keep that in mind. On the outside is a cold shoe mount, and the Ulanzi ships with a white rubber diffuser too. IN USE Firstly, the VL120 is extremely easy to use, although the claimed battery life of 1.5-3 hours is slightly stretching it and one of my two lights (yes, I bought two!) does get hot after 30 minutes or so of use. At first, the changing colours may seem like a gimmick, but boy are they ever fun! I found they led to amazingly creative tabletop photography and video options, as well as being good for my intended use for food-fill light videography. The colours also work well for bold backlighting small subjects, which is why I bought a second. For tabletop photography, it’s worth noting that the Ulanzi doesn’t emit a hugely powerful light given the size, although this is common with continuous light sources. C
A fter a considerable wait, the successor to the well-received, but getting on a bit, DJI Air 2S has finally touched down. It's called the DJI Air 3, and it drawsinspiration from theMavic 3 Pro by integrating a dual-camera system to make for a more versatile shooting package while retaining a compact size. The Air 3 is available in two variants - the Air 3 with standard DJI RC-N2 controller, which will set you back $1,699 in its cheapest form, and the Air 3 with the DJI RC 2 controller, which retails for around $2,349 as a combo. BUILD QUALITY The Air 3 seamlessly folds into a compact package for travel, just as you would expect for DJI’s mid-compact series. It features all-around obstacle sensors, a standard microSD slot, 8GB of internal storage for emergencies, and weighs 720 grams, notably heavier than the Air 2S's 595 grams. This heft stems from the introduction of 4,241 mAh batteries, surpassing the weight of the entire Mini 3 Pro drone. That said, what the weight gives you is battery life that rivals the capacity of R E V IE W : D J I A I R 3 the Mavic 3 Pro, and increases the Air 3's flight time to an impressive 46 minutes, a substantial leap from the Air 2S's 34-minutes. Finally, it's worth mentioning that the gimbal is shielded by a semi-transparent plastic cover, akin to the Mini 3 Pro's. I found it difficult to remove at times and it almost felt like I was going to damage the gimbal with the amount of force needed to detach the cover – an unusual design choice. THE CAMERA The biggest difference between the Air 2S and the Air 3’s camera systems is the the Air 3 has two lenses to choose from, rather than the single lens on the Air 2S. The Air 3's dual camera system features a 24mm f/1.7 primary lens and a 70mm f/2.8 telephoto lens, mirroring the Mavic 3 Pro’s setup. As both lenses share the same 1/1.3-inch sensor size and shoot at the same resolution, it's possible to combine footage from both cameras seamlessly, which is a nice touch. It's worth noting that the 1/1.3-inch sensors are actually marginally smaller than the 1-inch sensor found on the Air 2S, but they use more advanced technology, offer faster readout and have denser megapixels - 48MP versus 20MP, so offer better overall image quality. Both cameras also tilt 90 degrees down and 60 degrees up, which gives a particularly broad field of view when combined with the different focal lengths. | 58 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM DJIAIR 3 The DJI Air 3 draws inspiration from the Mavic 3 Pro, while retaining a compact size. Drew Hopper takes it to the skies. LEFT: The Air 3’s telephoto lens came in handy for photographing this nesting osprey from a safe distance. DJI Air 3, 70mm f/2.8 lens. 1/2000s @ f2.8, ISO 200.
In testing I found the primary sensor, equipped with a larger f/1.7 aperture lens, demonstrated great low-light performance. In particular I enjoyed shooting with the 70mm telephoto lens when shooting wildlife, such as when I didn't want to disturb an osprey nest. In saying this, the images from the telephoto lens did look a bit flat for my liking, and the separation was minimal, so don’t expect creamy soft bokeh. With autofocus, I had anticipated accuracy like the DJI Mavic 3 Pro, however, the experience wasn’t quite as I’d hoped. Despite indications of successful focus on the RC screen, there were instances where the subject was not in focus, which was a bit of a concern. This was more noticeable with the 70mm lens, which is a shame because that’s likely the addition that is the most appealing to buyers when compared to the Air 2S. I missed quite a few ‘great shots’ because of the focussing issue, so it's worth firing off a few shots to be sure you’ve hit your target if you can. VIDEO The Air 3 boasts 4K 60 video recording without the cropping found in the Air 2S. Remarkably, nearly all features, such as Active Track, Night Mode, 4K 60, and 4K 100fps, are accessible regardless of the lens you choose. The only exception is the vertical mode, a smartphone friendly 2.7K vertical 9:16. However, unlike flipping the camera 90 degrees for true vertical filming, the Air 3 offers open gate filming (this means the footage has no crop, and the entire possible frame is captured as it passes through the camera) instead of mere horizontal cropping. It’s a practical compromise, although I did find myself wishing for that camera flip option for a bit more resolution. In addition, enhanced light sensitivity comes via dual native ISO support in both sensors, delivering up to 100 fps in 4K slo-mo, slightly lower than the 5.4K of the Air 2S. 1080p also maxes out at an impressive 200fps for slo-mo playback. Both cameras offer 10-bit 4:2:0 D-Log M and HLG HDR, enhancing dynamic range and helping to manage banding. It's worth noting that as the Air 3 doesn't offer a variable aperture as on the Mavic 3, the optional ND filter kit (which comes included in the Fly More R E V IE W : D J I A I R 3 | 59 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM RESULTS HANDLING ) ) ) ) ) Great. Flying performance is just as you would expect for a DJI drone. BUILD QUALITY ) ) ) ) It’s got a solid build, and overall the Air 3 feels like a quality product for the money. FEATURES ) ) The Air 3 is a bit underwhelming in terms of new features, and is largely a repackaging of old ideas we’ve already seen. IMAGE QUALITY ) ) ) ) Great, images look sharp as long as you nail the focus. FINAL WORD The DJI Air 3 won’t win any awards for pushing the drone industry forward, but its responsiveness, stability, and dependability make it a solid option. Impressively, it also can handle wind speeds similar to the Mavic 3, which is very good considering its smaller size and lighter build. 7.7 S C O R E SPECS Takeoff weight 720g Dimensions Folded (without propellers): 207×100.5×91.1 mm (L×W×H) Unfolded (without propellers): 258.8×326×105.8 mm (L×W×H) Image sensor 48MP Lens setup Wide-Angle Camera: FOV: 82° Format Equivalent: 24 mm Aperture: f/1.7 Medium Tele Camera: FOV: 35° Format Equivalent: 70 mm Aperture: f/2.8 Video H.264/H.265, 4K @ 100fps Max flight time 46 minutes (Per DJI), 32 minutes (our testing) Price Starting at $1,699 More info dji.com combo), is almost a necessity for shooting in bright scenes in order to capture faster shutter speeds. IN FLIGHT DJI's seemingly endless refinement and revision of its aircraft has resulted in a flying experience devoid of surprise - every aspect of flying performs as you would expect from a DJI drone, which means you can expect an easy, intuitive flight experience. As mentioned earlier, the Air 3's new battery offers extended flight durations compared to its predecessor. While DJI claim a flight time of 46 minutes, I consistently managed over 30 minutes per battery, which although well off DJI’s estimates, is still good. DJI has also included its new O4 transmission system in the Air 3, which enhances flight range and signal stability, especially in congested environments. It’s a welcome addition. THE WRAP-UP The DJI Air 3 boasts dual cameras, extended battery life, and improved transmission. Moreover, its reasonable pricing makes it an attractive option for those who don't want the weightier and costlier Mavic 3 Pro. That said, the Air 3 isn’t the most exciting or inspiring drone released by DJI. You can think of it as a more iterative update, and a small a step forward from its predecessor. That said, improvements like the dual lens arrangement in particular is a huge benefit – more so I believe than the slightly higher definition video at 30fps. Despite the additional weight, the improved battery life is also welcome, allowing you to push the limits of flight further. The omnidirectional collision detection system and improved transmission system are also nice additions to the Air series, making it easier and safer to fly than before. With the Air 3, it seems DJI has decided the Air series will aim to offer the flexibility most serious users demand, while reserving the largest sensors and pixel counts for the Mavic 3 series and the company’s more pro users. This makes the Air 3 a little underwhelming in terms of overall wow factor, however, it’s an ideal alternative if you cannot justify the cost of its bigger brother. C
R E V IE W : S O N Y 16 - 3 5MM F/ 2 . 8 GM I I LE N S | 60 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM SONY16-35MM F/2.8GM IILENS More than six years after it was first released, Sony has finally updated its 16-35mm f/2.8, making the holy trinity update complete. So has the wait been worth it? Doug Gimesy finds out. O ver the last 18 months, Sony has been updating its ‘holy trinity’ of professional lenses. First was the 70-200mm f/2.8 GM II, followed by its 24-70mm f/2.8 GM II. Now, more than six years after it was first released, Sony has finally updated its 16-35mm f/2.8, making the holy trinity update complete. So, what’s it like, was it worth the wait, and is it worth the price? BUILD At 112mm long (at 16mm) and weighing just 547gm, the Mark II is 10mm (10%) shorter and 130g (20%) lighter than its predecessor, making it currently the world’s lightest and smallest full frame AF 16-35mm f/2.8 lens. The lighter weight also means that when combined with the recently upright. In practical terms you can be in focus with an object only about 8cm from the front element. EXTERNALLY Like the old GM I and the new 24-70mm f2.8, the filter thread is 82mm and there is now an aperture ring which allows the photographer to directly control the aperture diaphragm from the lens itself. There are now also two toggle switches on the body. As with the previous model, there is a switch to control AF/MF. But linking back to the aperture ring, an ‘iris click’ (on/off) switch and an ‘iris lock’ switch have been added. What this means for the videographers is they can now silently and smoothly change their aperture as they shoot - no jumps or audible clicks. And finally, there is now an additional customisable focus hold button, giving a total of two on this lens. IMAGE QUALITY I used the 16-35mm f/2.8 GM II with Sony’s A7 IV and Alpha 1, and not surprisingly, the results on many criteria were excellent. Wide open (f/2.8) from 16mm to 35mm, the image quality was really sharp edge to edge, had excellent handling of coma and also minimal Chromatic Aberration: three things that are virtually impossible to address well in post, so this is great and important. dated 24-70mm and 70-200mm, this ‘holy trinity’ only weighs 2287gm vs the previous weight of 3046gm. That’s a significant 759gm lighter combination which is important if carrying on a plane or on your back. The weather sealing has also been improved, and the reversible lens hood is also smaller. INTERNALLY Internally there is a new optical design of 15 elements in 12 groups, and this new design includes updated autofocusing mechanisms with four XD linear motors, meaning faster, more accurate and near silent operation. Sony state the minimum focus is 22cm from the sensor throughout the range, down from 28cm on the Mark I, and my tests confirmed this was about
There was some noticeable barrel distortion between 16 and 24mm, but I guess that’s not unexpected for such a wide lens, and there was also some noticeable vignetting when wide open at the shortest focal length (again, not unexpected). However, the vignetting was significantly reduced when shutting down to f/5.6 and even at 2.8 was really only noticeable when shooting something featureless. THE WRAP UP I posed the question at the beginning of this review, was this upgrade it | 61 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM LEFT: At 35mm, the GM II feels very much like like a prime lens. Sony A7IV, FE 16-35mm F2.8 GM II lens @ 16mm. 1/320s @ f4.5, ISO 800. RESULTS HANDLING ) ) ) ) At this price level, you’d expect a premium build quality and the Mark II doesn’t disappoint. Improved weather-sealing, good zoom torque, responsive manual focus, fast accurate autofocus, light, small, with minimal barrel extension and a pleasure to hold, all combine to make the handling excellent. FEATURES ) ) ) ) This lens has the features most professional cinematographers and many still photographers would want in the field. IMAGE QUALITY ) ) ) ) For a zoom (vs prime) lens, image quality is impressive. It handles chromatic aberration, and vignetting well, and has a nice bokeh too. VALUE FOR MONEY ) ) ) At $3,699 RRP, and about $900 more than its (still available) predecessor, on one level this lens is relatively expensive. On another level however, as it is around the same price as the Canon equivalent, one could argue maybe not; although Canon’s does come with a five-year warranty vs Sony’s twoyear – something Sony really need to start addressing especially with their professional G Master lenses. FINAL WORD Across the board, the Sony 16-35mm f/2.8 GM II lens is a worthy upgrade to its predecessor – but it ain’t cheap. 8.5 S C O R E SPECS Focal length 16-35mm Maximum aperture f/2.8 Lens mount Sony E Lens format Full frame Image stabilisation Yes Minimum focus distance 22.1cm Maximum Magnification 0.32x Optical Design 15 Elements in 12 Groups Filter Size 82mm Dimensions 87.8 x 111.5 mm Weight 547g Price RRP $3,699 More info sony.com.au worth the wait and is it worth the price? Well after a week and a few thousand frames, it’s pretty simple to summarise by saying this lens is better than the Mark I in what’s important to me as a conservation photojournalist – weight, size, weather sealing, autofocus speed, sharpness; and all this with some additional functionality. So yes, to answer my first question, it was worth the wait. Is it worth the price however? Well, that’s an interesting one. If you’re paying the rrp of $3,699, this lens is about $900 more than the currently available Mark I ($2,799). That’s a big difference both in real dollars and percentage terms. Certainly, whilst this upgrade is better in most important aspects, to answer that question you probably need to first ask yourself two things before diving in. i) Do I have that money and ii) How important are these upgrades for what you need? Putting money aside for a moment, if you’re a cinematographer, having the ability to change the f/stop on the lens and do so with no iris click, along with it being potentially more gimbal friendly, these two features probably means you should seriously consider getting it. But if you’re a stills photographer however, I think it’s a tougher decision. If you have a Mark I and are happy with it (and it is a good lens), then there’s probably no need to rush out to swap it over, especially if you are going to sell you Mark I at a significant loss. But if, like me, weather sealing, auto focus, sharpness, weight and size are really important for how you shot and what you do, or even if this is your first 16-35mm f/2.8, then I’d suggest consider getting it. Given lens upgrade timelines, if it's your first 16-35mm it will probably be the best Sony 16-35 f/2.8 lens out there for the next five plus years, so why compromise now? C
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| 63 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM I f you’ve never shot in the RAW file format before, quite simply you’ve been missing out. Relying on JPEG is fine for some situations, but for the vast majority of photography, RAW is definitely the way to go. As the name suggests, in this mode the camera captures RAW tonal data of your scene, rather than adding parameters such as contrast, saturation and sharpness, which is what happens when you shoot in JPEG. By shooting in RAW you delay any decision making until you’re back at the computer and edit RAW files in software such as Adobe Camera RAW or Lightroom, where you can fine-tune your edit or apply presets to create a certain look and feel to the frame. In this feature, we’ll not only explain what the RAW file format is all about, but we’ll also suggest when (and when not) to use it along with serving up some tips to help you get the most out of your RAW files. MORE DATA, MORE MEMORY It stands to reason that if you are capturing more tonal data with a RAW file, it’s going to take up more memory on your SD card and this is one of the reasons that many photographers may have steered away from RAW in the past. However, the photo industry has combated this problem on two fronts; first, memory cards have become more and more affordable and second, many camera brands now offer compressed RAW formats that still capture tonal data but take up far less space on your memory card. Remember however that once you transfer the files to your computer, this data will switch from your SD card to your desktop, so a better approach is to invest in an external hard drive to stop the RAW data from clogging up space on your computer. An even better workflow is to have two hard drives just in case one fails as you don’t want to lose all those precious memories due to a hardware failure. P H O T O T I P S : U N D E R S TA N D I N G R AW LEFT: Shooting in the RAW file format affords photographers a second chance to control the exposure in the scene, transforming overexposed skies into blue, detailed hues.
| 64 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM RECOVER DETAIL AND SAVE IMAGES One of the greatest gifts shooting in RAW gives us is the ability to rescue areas of Highlights and Shadows in your scene. Let’s face it, as photographers, we won’t always get our exposures right and this can lead to skies being overexposed or areas of shadow that are so dark you can’t make out any detail. Well, RAW gives us a second chance at getting the exposure in our frames correct and the Shadows slider will reveal detail while the Highlights slider will recover colour and tone in the sky. Of course, both these parameters will have their limits, but newcomers to RAW photography may be surprised by just how much data can be recovered. In essence, this process turns what would be a photo heading for the trash can, into one that can be saved, polished, printed and admired - all thanks to the RAW file format. TELL A STORY THROUGH COLOUR Many people use the White Balance options in RAW conversion software programs like Adobe Camera RAW, Lightroom - or even your brand’s bespoke software such as Digital Photo Professional for RAW, or Nikon’s Capture NX-D - for correcting the colour temperature in the frame to simulate what the photographer saw with their own eye. This is because cameras can often introduce subtle colour casts that may add a green or blue hue to the frame. Using the White balance sliders in Lightroom for example, these casts can be quickly corrected, but simply using them to right the colour temperature means you will be missing a creative opportunity. The colour temperature of a scene can be used creatively to set a mood, introduce atmosphere into the frame and tell a story through the use of colour. For example, lowering the colour temperature to give the scene a cool, blue hue will increase a feeling of cold melancholy and is perfect for a baron landscape scene. Alternatively, warming up a scene by increasing the colour temperature will add a happier, sunnier feel to the frame, all thanks to the white balance controls in your RAW conversion software. MERGE MULTIPLE FRAMES RAW conversion software such as Adobe Lightroom can offer additional features that can help you be creative with your RAW files. One example is an HDR Merge, where multiple images of the same scene but at different exposures levels are merged together to make the most of the dynamic range in the frame. Because you’re using RAW files rather than JPEGs, you have far more tolerance to make the most of the shadows and highlights in the scene and this technique works especially well in high contrast scenes where there is a vast difference between the dark and light tones in the frame. However, there’s even more you can do with the merging options in RAW conversion software as Lightroom also offers a panorama option, where multiple RAW files can be merged to create a single file with a wider field of view. Obviously, you will have to shoot images with a panorama in mind by capturing an arc of single frames, overP H O T O T I P S : U N D E R S TA N D I N G R AW
| 65 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM ABOVE: As a photographer, creating a signature look to your frames can establish you in the industry and help you stand out from the crowd. Presets in RAW conversion software such as Lightroom helps you achieve these looks in just a few clicks of a mouse, speeding up the process. OPPOSITE: The RAW file format also gives photographers far more tolerance to change the colour temperature of the frame and this in turn enables them to tell a creative story through the use of colour. RIGHT: While there are other options, such as Affinity Photo 2, Adobe Lightroom has long been the go-to software for RAW image conversion. It makes masking and fine-tuning elements in your frame easy. P H O T O T I P S : U N D E R S TA N D I N G R AW lapping each picture by around 20% to give the software the best chance of successfully merging the files together and making the results look natural. PERFECT PRESETS While working in the RAW file format does give photographers a great opportunity to fine-tune settings to create a certain stylistic look to your frames. However, doing this to each photo you’ve captured can take up far too much time. This is where RAW Presets come in super useful and offer a one-click solution that will change multiple parameters in the blink of an eye. Lightroom offers a range of different default Presets covering everything from Landscape presets, portrait presets and plenty of black and white options. However, once you’ve created a look you’re happy with yourself, you can save this as your own Preset and, as a third option, you can buy in Presets from other photographers and import them into Lightroom too. WHEN NOT TO USE RAW Yes, believe it or not there are times when shooting RAW may not be the best option and these situations are generally reserved for when you have to capture huge amounts of imagery. For example, say you are shooting a sports game under the floodlights. In this controlled environment, the lighting is unlikely to change so you can get your settings right and then shoot away. JPEG format is also useful if you are digitally transferring images on the fly - many sports photographers have their camera linked to a laptop that automatically transfers the images back to a photo editor at base. C
W I T H B R I A N R O P E O A M | 66 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM PAMAMAROO A s an enthusiast photographer for almost 73 years, my interests and approaches have changed and evolved. Nowadays I mostly seek to create contemporary works, but there are still times when I capture traditional imagery. Menindee Lakes comprises nine large, but relatively shallow, lakes located in south-west New South Wales on the Darling (Barka) River. The town of Menindee is close by. There are four main lakes, including Pamamaroo. One afternoon during the 2023 APS MeetUp at Broken Hill, participants set off by coach heading there to shoot the sunset. The drive from the Hill to Pamamaroo should take about 70 minutes. The plan was to arrive in time to set up cameras, tripods, and whatever other gear we each wished to use, then eat dinner at the spot before photographing the sunset. Unfortunately the coach engine started to play up after about 30 minutes and the driver had to bring us to a halt. While the driver phoned home for a replacement coach, the busload of keen photographers stepped off and spread out in search of photographs. When the new coach arrived we all quickly clambered onto it and the journey resumed. We arrived at our destination about an hour later than scheduled, piled off the coach and started shooting the sunset immediately. Desite arriving late, there was still time to capture the scene, and over a period of 45 minutes I photographed the changing colours. I used my handheld Z5, and also took a few photos with my iPhone. Every one of my fifty-odd images was shot from essentially the same location on the shore, just pointing the camera in different directions and varying the focal length. I’m pretty happy with all of them. The one shown here is just my second shot and I love the highlight along the edge of the water. In post, I opened the RAW file in Camera Raw, selected Auto edit, then in Photoshop used Auto Color, Contrast and Tone, and applied the Nik 6 Output sharpener. NIKON Z5, NIKKOR Z 24-200MM F/4-6.3 VR @ 25MM. 1/200S @ F7.1, ISO 100. As an enthusiast photographer for almost 73 years, my interests and approaches have changed and evolved. Nowadays I mostly seek to create contemporary works, but there are still times when I capture traditional imagery. A P S O N E F R AME
| 67 | DECEMBER - JANUARY 2024 | AUSTRALIAN PHOTOGRAPHY.COM A P S O N E F R AME THE AUSTRALIAN PHOTOGRAPHIC SOCIETY Membership with the Australian Photographic Society caters for enthusiasts, amateurs and professionals in photography. The APS can help you improve your photography, increase your level of satisfaction and achievement with your images, and make lasting friendships with other photographers throughout Australia. All that is required is that you take two steps; the first, joining the society; the second, becoming involved in what it has to offer. Find out more at a-p-s.org.au
W e have bid farewell to the cool breezes and colour of spring and are now embracing the hot dry weather of the summer sun all over Australia. I love that as the temperature rises, nature begins to transform. Vibrant colours of spring give way to a more muted palette, with earthy tones and golden hues dominating the scenery. This shift provides a unique opportunity to capture the landscape in a new light, where warm, soft shades paint an enchanting canvas on those longer summer evenings. In my personal photography, this time of year is where I focus on the activities happening around me. I’ll watch for moments where the sunlight filters through the foliage on our farm, as fresh, green leaves create a mesmerising interplay of light and shadow. In between, I love to explore the dappled light on things like the garden and yard. This light is perfect for capturing ethereal and dream-like images – if you want to do the same, I suggest you seek out details around you and watch how the light interacts with them throughout the day. For me though, summer is all about community, as people shake off the winter blues and enjoy getting out in the warmer months. From vibrant street scenes, to markets, and bustling shops, there’s endless opportunities for capturing candid and authentic moments of the places we inhabit. A P S F O C U S W I T H H ELE N C A R P E N T E R If you’re in an urban environment, look for interesting compositions that highlight the contrast between old and new, traditional, and modern, or try to capture unguarded moments on the streets around you. This is also the time to try and capture the energy of the spaces we occupy and the activities going on. You can bring an energy to busy places by shooting longer shutter speeds, or trying to isolate a static subject against a busy background. Through my photos I try to tell a story of the environment, evoking emotions and inspiring the viewer to appreciate the world around them. Key to this is embracing what makes each season unique and exploring it in your photography. Embrace the warmth, the colours, and the energy of the world around you, and let it fuel your creativity. C | 68 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM ASSEASONSCHANGE Orange Afternoon. Apple iPhone 11 Pro Max. 1/90s @ f2.4, ISO 250. The summer months change the environment and our photography. Here’s how to explore it in your own work.
| 70 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM SWEETEN IT UP “I am a Diploma of Photography student at Sydney's Ultimo TAFE. My concept was to feature the human form interacting with liquids. I chose to use honey due to its viscosity, interesting random shapes and how it interacts with light. Honey has been a feature of many famous portraits in the past, and I was particularly influenced by Fabrizio Ferri's photos of actress Monica Bellucci.” ANTHONY’S TIP: Hi Daniel, given you are studying photography (probably to go professional) I’m going to be a little more critical with my comments, even though you are the winner this month! If this image was being judged at a professional photography competition it would probably score about 65/100 - a “professional standard”. This is a simple one light set-up with a reasonable looking model, but you haven’t challenged our expectations in any way. And there are too many distractions in this image, from the wrinkles in the singlet top, the branding on the pants, the black fingernails and the jewellery; this is all competing with whatever you are trying to tell us about honey and the human form. In short, this image is a good effort for an amateur, but not for a pro. I would reshoot this image, but this time do what Fabrizio Ferri did with his portrait of Monica Bellucci - get in closer, but then use strong light and design technique to really explore the idea. TITLE: Honey PHOTOGRAPHER: Daniel Cook DETAILS: Sony A7 III, 70-200mm lens @ 70mm. 1/125s @ f6.3, ISO 100. IMAGEDOCTOR B Y A N T H O N Y MC K EE Images need a pick-me-up? The doctor will see you now. IMA G E D O C T O R RAW CAN HELP “I have taken up photography late in life and after some years practicing with a Panasonic G85 I recently purchased an OM System OM-1. I made this photo whilst taking a break in Kalbarri WA and decided to try out the Live ND feature of the OM-1. The location is near Jakes Point as I found the rock formation interesting particularly at sunset. I edited the out of camera JPEG in Affinity Photo to open up the shadow as the foreground was on the dark side”. ANTHONY’S TIP: Hi Ron, and can I say it is never too late in life to start exploring photography (unlike gymnastics, full contact rugby, the harp, etc). While you may not have been doing photography for long, you seem like you are already getting a good feel for landscape photography. My main advice for you is to start working in RAW mode. Yes, JPEGs are convenient but RAW mode gives you so much more opportunity to control the tones within a scene. More importantly, exposing for the highlights and then opening up the shadows in RAW will let you bring so much more colour and detail into the highlights of your photographs. Give it a go - I think it will take your photography to the next level. TITLE: Jakes Point PHOTOGRAPHER: Ron Alexander DETAILS: OM System OM-1, 12-40mm lens @ 12mm. 4s @ f5.6, ISO 100.
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WHAT MAKES A PERFECT PANO? “I’ve recently begun stitching landscape panoramas and would really appreciate your help. I’m trying to establish a ratio that works well digitally and when printed. My first attempts seem to remove any focus point. The attached pano is 4 images stitched in Lightroom taken across the Swan River towards The WACA Ground and including the Matagarup Bridge.” ANTHONY’S TIP: Hi Kev, I don’t think there is any “perfect” ratio for creating panoramas. Although 16:9 is often considered the “standard” ratio for a panorama image, I recently had a friend exhibiting panoramas at a 10:1 aspect ratio! There are no rules, in fact, you don’t need a central point of focus. What is important with a panorama is that you keep things interesting and engaging across the majority of the frame. The problem we have with this image is that although there is some detail within the scene, it has mostly been lost in the shadows against the brightness of the sky and the water. I would have waited closer to 30-minutes after sunset to capture the city lights as they started to emerge against the glow of dusk. Also, try shooting in RAW mode, and then manually control the White Balance and saturation so that you get strong colours in the sky. Keep at it! TITLE: Swan River Panorama PHOTOGRAPHER: Kev Chambers DETAILS: Canon 200D Mark II, 18-55mm f/4-5.6 lens @ 55mm. 1/250s @ f5.6, ISO 500. | 72 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM IMA G E D O C T O R SEEING WHAT OTHERS DON’T “I took this image in an office that was doubling as a green room for a concert I was a part of. I was initially using these flowers as a depth of field exercise but I was also struck by how these natural elements were stored in the same way the stationery was – more like instruments than decoration. I graded the photo to retain the colour and life in the flowers but to also make it commensurate with its sterile, bureaucratic surrounds.” ANTHONY’S TIP: Hi Robert, the art of the juxtaposition is as old as photography itself, but like any art, the success of a work usually lies just as much in the execution as the idea itself. This image qualifies as a record photograph of these flowers, but from an art perspective you need to be working a little harder. In reality, good photographers can make interesting photos from almost any situation, including this opportunity. The challenge though, is to see this situation in a way that others might not. Personally, I might have tried holding the camera against the wall and shooting outwards over the top of the flowers, or positioning the camera down in amongst these flowers and shooting upwards, as if looking up through a jungle canopy. I would be looking for the interesting perspectives. As for depth of field - while we often get excited about shallow depth of field (especially with f1.4 lenses), a deep depth-of-field (using f11 and a tripod) can actually challenge our sense of depth in these sorts of photos. Keep exploring! TITLE: Standard Issue PHOTOGRAPHER: Robert Brens DETAILS: Sony A6400, Sony FE 35mm f1.4 lens. 1/640s @ f2.5, ISO 640.
YAFFA 15255 RIDE ON FULLY CLOSED ROADS 23 MARCH 2024 2024 snowyclassic.com.au DESTINATION PARTNER AUTOMOTIVE PARTNER AUSTRALIAN OWNED AND OPERATED INCLUDED IN YOUR REGISTRATION: & MORE EVENT TIMING NUTRITION AT REST STOPS EN-ROUTE SUPPORT CHOOSE YOUROWNCHARITY FREE RIDER PHOTOGRAPHY 170 KM 110 KM
| 74 | DECEMBER - JANUARY 2024 | AUSTRALIANPHOTOGRAPHY.COM LOOKING FOR MORE GREAT PHOTO CHALLENGES? JOIN ONE OF OUR ONLINE PHOTO COMPETITIONS AT AUSTRALIANPHOTOGRAPHY.COM PHOTO COMPETITIONS IMA G E D O C T O R HOW TO SUBMIT AN IMAGE • Email entries to: imagedoctor@ australianphotography.com with “Image Doctor” in the subject line. • Include your name, image title and up to 150 words about how you created it. • Only one image per person per month. • Images must be saved in JPEG format. Maximum file size is 5MB. Include your name in the filename of the image. • An Australian address is required in order to receive the prize. • Employees of Yaffa Publishing or the sponsor are not eligible to win the prize. • The editor’s decision is final and no correspondence will be entered into. Congratulations to Daniel Cook who has won a 12-month subscription to either Australian Photography or Capture magazine for taking out Image Doctor this month! AP has been celebrating the work of Australian photographers for more than 70 years. Published quarterly, Capture is Australia's leading journal for emerging and professional photographers. Find out more about AP at australianphotography.com, and Capture at capturemag. com.au. 12 MONTH SUBSCRIPTION TO AUSTRALIAN PHOTOGRAPHY OR CAPTURE MAGAZINE DECISIONS, DECISIONS! My two granddaughters had their first time in the puddles at my parent’s farm in Western Australia. I loved taking these and was happy with the reflections. The day was cloudy and overcast with the sun poking through at times. ANTHONY’S TIP: Hi Caroline, if you want photographers to have fun, let kids loose in puddles! Of course, photography is actually serious business and we have decisions to make - do you get low and include more of the horizon, or do you stay high to capture the reflections in the water? And what is the best lens, exposure settings and moment to be capture the photo? It's complicated. I like your decision to stay high because it does let us see the ripples in the water, but as we look at this scene we can see our eyes getting distracted by the highlights on the left and right of the frame and also the details of those fences posts in the top. Personally, I would be cropping this image to square and in the process I would crop the top of the picture just below the shadow of that tree. The blown out highlights on the youngest child’s top is rather distracting, but that is more to do with your exposure control. As I always say, if you can, shoot RAW and use the extra tonal range to manage your highlights and shadows. Otherwise, good effort! TITLE: First time in the Puddles PHOTOGRAPHER: Caroline Scott DETAILS: Nikon D750, 50mm lens. 1/160s @ f9, ISO 100.
Since 1989, Darran and Julia Leal have been offering the most incredible photo adventures around the world. In 2024/25 they will only be taking small groups! SOUTH AMERICA Brazil - Chile - Argentina - Falkland Islands. AUSTRALIA Kimberley - Shark Bay - Tasmania - Tropical Nth Queensland - Lake Eyre - Lamington NP - Sydney. AFRICA Namibia, 2 tours - Tanzania - Morocco - Botswana - Cape To Kalahari. USA Alaska, 4 tours - Death Valley - Slot Canyons, Arches, desert with guest Julieanne Kost of Adobe. ASIA Japan - Orangutan & Indonesia. Visit our NEW Website: www.worldphotoadventures.com.au Or email Julia for more details: [email protected] SPECIAL OFFER Book any WPA adventure that is 5 days or longer and you receive Darran’s Straight Shooter book, plus a $200 credit with Momento Pro to make your own book. What a great way to relive the adventure! Total value $350. “We make memorable journeys, you capture incredible images”