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D-PhotoD-Photo

D-Photo No 87 December 2018-January 2019

D-Photo is New Zealand’s No.1 digital photography magazine helping Kiwis get to grips with their cameras and use them more creatively. By providing quality how-to features, product reviews, and inspirational pictures, the magazine gives its loyal and ever-increasing subscriber base the information and confidence they need to embrace digital camera technology and make photography a part of their everyday lives. Enjoy the stunning work from talented New Zealand photographers and see the New Zealand landscape and people in a way no one else can in each and every issue.

Country:
New Zealand
Language:
English
Publisher:
Parkside Media
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6 Issues

IN THIS ISSUE

access_time1 min.
editorial

For those of you opening this issue fresh, you will no doubt have seen the calendar slotted in behind it. The images in this calendar were chosen by readers from the photographs shortlisted in the 2018 Sigma D-Photo Amateur Photographer of the Year competition. Compiling the calendar, I was struck by the diversity of the images submitted, and the different ways in which people approach photography. Whether you strive to capture the essence of a landscape dear to your heart — seen in this issue in the photographs of Stephen Romer (page 28) and Chris Morton (page 56) — or, like photographer Alan Henderson (page 72), are endlessly fascinated by the potential of macro photography to explore the world on a scale we would never otherwise see; or seek to document…

access_time3 min.
your shots

/dphotonz /dphotomagazine MARINA DEWIT NIKON D7200, 105MM, 1/250S, F/7, ISO 100 Marina has always been fond of the old masters, but she found that painting wasn’t her calling. Discovering the joys of photography four years ago, she replicates in her photographs some of the qualities she enjoys in paintings. While this particular flower lacks the clean lines of your picture-postcard tulip, Marina told us that she strives to find something unique about her subjects. She isn’t somebody who is drawn to taking portraits of people, and this focus on imperfections and differences works to imbue her subjects with personality and an individualism not always present in your standard flower snap. EMRE SIMTAY SONY A7 II, 35MM, 1/2000S, F/2.8, ISO 100 During his lunch break in central Wellington, Emre came across a man jumping off the platform at…

access_time8 min.
on in the streets

John Miller is a name synonymous with New Zealand social documentary. He has captured this country’s most momentous protests, from land marches and war demonstrations to anti-apartheid events and Māori rights movements. His archives hold more than four decades of Aotearoa history, its people and its landscape. Our interview takes place over a slightly crackling landline phone, the minor reverb mimicking a broadcast interview of the ’60s. We’ve met a few times, and I picture him today sitting at his table, wearing his infamous military-style fitted cap. He already has me engrossed in one of his stories. Of Ngaitewake-ki-uta, Uri Taniwha, Ngāti Rehia, and Ngāpuhi descent, the 68-year-old paints his black-and-white images with colourful details, vividly recalling names, dates, events, words spoken, and flags flown. “So, are you going to ask me about…

access_time6 min.
these unshaped islands

Commercial automotive photography is created to make us fall in love with the car: the raw power of a vehicle charging through rustic countryside, elegant curves reflecting the day’s gorgeous light, whipping through undulating terrain with speed and precision. Yes, the car is the star, but, if you’re paying close attention, you might notice that it’s the landscape you’re truly enamoured of. Stephan Romer knows this only too well. As one of the world’s leading automotive photographers, German-born Stephan has been shooting the landscapes that make us fall in love with cars for years. Porsche, Aston Martin, and Mercedes-Benz are just a few of the brands that Stephan counts among his clients, their luxury vehicles populating his dazzling landscapes throughout the globe. It was on one such assignment, for Porsche in 2002,…

access_time6 min.
beside the seaside

Rod Morris doesn’t admit to being a natural-history photographer, or even really a photographer. He says he’s “an old-fashioned naturalist”, who uses camera gear to tell a story. However, one glance at his online photo library tells us that he is very modest; his photographs are outstanding. Rod’s collection of stock images began in the early ’70s, while he was working for the New Zealand Wildlife Service. Accessing locations such as New Zealand’s offshore islands, Rod was involved in rescuing wildlife, including black robins, kākāpō, and kiwi. He soon acquired a concentrated photographic collection of New Zealand’s endangered species, and used the photos as an aid in his talks to interested groups. Continuing to tell stories, Rod became a director and producer at TVNZ’s Natural History Unit — now called Natural History…

access_time4 min.
the future is female

This year marks the 125th anniversary of Aotearoa becoming the first self-governing country in the world in which all women have the right to vote. Many events up and down the country have celebrated the moves towards true equality that have taken place since 1893. One photography project, on the other hand, decided to use the occasion to look forward, celebrating the young female photographers who are poised to take the art into the future. The Guest Stars project came about when celebrated art photographer Edith Amituanai decided she wanted to try connecting with young photographers outside of her own community. Edith’s award-winning work has most often focused on her immediate surroundings, documenting her family and community and their deep roots in West Auckland. Always interested in exploring things from a…

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