Posts in Photography
Epson Pano Award winners

Overall Open Winner - The Sunshine Skyway Bridge St Petersburg Florida - Dennis Ramos This year the competition received 3971 entries from 870 photographers in 54 countries. The fifth Epson International Pano Awards is dedicated to the art of panoramic photography. Advances in digital photography and editing software has resulted in a surge in the popularity of image stitching, especially in the panoramic format. Panoramic film photography also remains alive and well. The Epson International Pano Awards showcases the work of panoramic photographers worldwide and is the largest competition for panoramic photography.

The overall winner of the 2014 Open competition is Dennis Ramos from the USA. His winning image is also first in the Open – Built Environment category. Dennis says, ‘It was a beautiful cloudless day with some patches of rolling fog over the bridge. My friend and I decided to go fishing that mid afternoon. I found out that my reel wasn't working so I grabbed my camera gear instead. I took a lot of shots around including this long exposure panoramic shot of the bridge. It took me a lot of time waiting and shooting in between the fog to get a good exposure. While waiting during long exposure times, I wished I had my fishing rod as well.’

Other place-getters in the Open competition are; Marcio Cabral – Open/Nature 2nd place Timo Lieber – Open/Nature 3rd place (Timo was also the 2013 Photographer of the Year) Will Dielenberg – Open/Nature 4th place Denis Gadbois – Open/Built Environment 2nd place, Highest Scoring Spherical/360 Image, Highest Scoring IAPP Member Marco Castelli – Open/Built Environment 3rd place Mohammad Reza Domiri Ganji - Open/Built Environment 4th place, Highest Scoring HDR Image Douglas Peebles – Highest Scoring Image from Film Capture Alexander Vershinin – Highest Scoring Gigapixel Image

For more information and to see all of the winners, click here.

Fundraiser for the Ballarat International Foto Biennale

BIFB Biennale beta collection adEvery two years the Ballarat Biennale festival brings Australian audiences the best of the world's photographic art in some of the most beautiful heritage venues in Ballarat in a month long photo extravaganza. This August is the Gala fundraiser, the Collection 2014 provides an ideal opportunity to support the BIFB and ensure it's ongoing success as Australia's premier festival of photography. For more information, click on this link.

When: Sunday August 31st from noon to 4:00pm, Where: Gallery Eleven40, 1140 Malvern Road, Malvern, Vic 3144 03 8823 1140 Cost: $125 [red dot purchasers free]

Q and A Photo Podcast is back on air!

Black Market Podcast Team After a 5 month break, the Podcast from the Black Market Network featuring Paul Atkins is back on air with the 20th episode.

Paul and host DJ Paine discuss everything photographic, with the aim to promote professionalism and getting the best out of your photography. Tune in for tech, tips, tricks, gear, clear explanations, geekery, and fun.

Link to home page

Link to Q and A Photo

Link to the Podcast in iTunes

Mick Bradley remembered

  Mick, Lance and Co shooting city streets

Ian North has written this lovely piece about Mick Bradley:

A memory of Mick Such a dear man…to use an overworked term, an Adelaide icon, raincoat flapping like Columbo's, always giving anyone he met the time of day, like the fictional detective a great conversationalist and an astute observer of life—a fact which fed the humanity of his photography. Disheveled yet stylish in appearance Mick was for more than fifteen years a king of Kent Town boulevardiers—or so he seemed—venturing forth from his studio at the back of the Greenaway Art Gallery, close by the Wakefield Press HQ where his wife Vivian ran the front office.

I often encountered him in the neighborhood. As fellow photographers we wasted many a half hour a decade ago abominating the advent of the so-called meta-medium of digital photography, and the associated cavalcade of over-optioned hardware and software threatening death to photography, as we knew it. He favoured simple gear, manually controlled, and cameras with optical viewfinders, not miniature video screens buzzing with extraneous information.

Mick much admired the work of a Sydney friend, the photographer Roger Scott, both fans and practitioners of street photography. It is not surprising that artists gravitated to Mick to document their work, given his sensitivity to the world ‘out there’.

Notwithstanding our jeremiads, however, he knew full well that he needed digital cameras and Photoshop to craft his magnificent magnum opus, the book City Streets: Progressive Adelaide 75 Years On. As a born flâneur Mick was a natural for the job of visually documenting Adelaide’s CBD, complementing text by Lance Campbell. The resultant publication from the Wakefield Press in 2012, one hopes, will provide at least a little comfort to the family of this respected and much loved figure, as an intense, enduring record of a city Mick Bradley loved in return. — Ian North

Print it or lose it

A4 GRAN.epsAtkins has been a champion for the preservation of photographs. Recently, in the UK and now in Australia, the Photo Marketing Association (PMA) and Fuji have partnered to push the message home through a series of posters. Here is some background by Danny Williams of Swains' camera stores in the UK:

“There is”, he said, “a real danger that a family who don’t make prints or manage their electronic images will find themselves without any photo history. He compared this to the Domesday book, created on paper in 1086 and still readable today over 900 years later. Yet in 1986 a new Domesday book was created, at a cost of £2.5 million containing maps, pictures and video footage, It was stored on CD and is no longer readable.

“We need” said Williams “to shock people into realising that their heritage is not preserved electronically.

This is a great campaign, a very simple message, however it is worth explaining to people a little more detail as the problem is a wider one.

We are currently creating more photographs than ever, and the value of any one image is very low. If, and that is a big IF, people actually want their survivors to experience what they have in discovering a rich history of photos from the past, then they will have to take it all much more seriously.

Just making prints will not help. We will be inundated with forests worth of prints. They may be poorly printed and last no time at all. What has to happen, is proper curation of photographs. Careful selection, careful application of metadata (who is in the photos, what is happening, where and when it was taken), and careful printing at reputable professional services (such as Atkins) who use archival materials. This applies to digital storage, it all needs proper curation.

We have been incredibly lucky. early photographic processes were very stable, the prints lasted. And because the prints cost money, only a few were printed, only the most important images have survived.

This is now an urgent situation. We are facing a catastrophic loss of our social history.

Eastern Turkey Photography Tour

Mt Ararat - ©Nuran Zorlu Eastern Turkey photography tour with Nuran Zorlu.

Nuran Zorlu is an established and respected award winning Australian commercial and advertising photographer, with over 20 years of experience. He is also a well-respected teacher of photography and a sought after judge for national photography competitions.

His travel photography has featured in many major photographic exhibitions and publications. Also he has lectured on travel photography and history at the Art Gallery of NSW, Sydney University in Australia, and in Cezayir Cultural Centre, Istanbul, Turkey.

Born in Turkey to Armenian parents Nuran speaks English, Turkish and Armenian fluently. He also has a degree in philosophy and sociology from Istanbul University and a great love for the region's history. This unique perspective and knowledge means this travel photography workshop is not just an opportunity to learn camera, framing and lighting techniques - but gives you the opportunity to gain an intimate understanding of the country and its people.

Places limited to 12 for Workshops and tuition so please contact us to book your place as soon as possible. The tour requires a minimum number of 5 workshop participants to run

Workshop start date: May 24, 2014 Tour Price:
 Per person in double room : $6450 US , 
Single Supplement: $700 US PDF Brochure of the tour with booking information, click here.

Artist talk this afternoon, 4-5.30pm

MacDonald-Artwork-351-1Friday the 26th of April we are very proud to present Peter MacDonald at this month's Open House. Peter's aerial work featuring Lake Eyre is a perspective on this fragile area I have never seen. With subtle colour and abstract shapes Peter's work could be confused with paintings.

Peter lives near Wilpena Pound and is an accomplished landscape photographer, this work represents a new chapter in Peter's long career.

Link to Peter's website.

No need to book, just turn up at the lab at 4pm April 26th.

Cost: $0

More information on Peter's Exhibition:

In 2010, photographer Peter MacDonald spent five months on and off documenting the flooding of Lake Eyre in central Australia. This event occurs only once every 10 to 15 years when flood rains in the Northern Territory and Queensland drain into the Lake Eyre basin - which covers about one sixth of mainland Australia.

Most of Peter's work during the 2010 expeditions involved photographing the Lake at heights which ranged from 150 to 760 metres. While these photos documented the spectacular event from the first broken banks of the Diamantina and Warburton Rivers to the eventual filling of the Lake, there wasn't much time to creatively illustrate the amazing scenes beneath the aircraft.

This year several elements came together to enable Peter to capture this amazing landscape in a new and exciting way. These included; 1. The salt water coloured by the growth of algae. 2. Unusually heavy rains in March that covered the Lake and surrounding pastoral properties with vast amounts of fresh water. 3. The salt floor of the Lake which, in some areas, had no water on it.4. The spectacular dunes of the Great Victoria Desert which run up to the shores of the Lake. . Peter has been a longtime admirer of the great Aboriginal artists who are able to visualise their land accurately from on high and this was another influence on his decision to take a new approach. Shooting from outside the rear door of a light aircraft at 8,500 feet (2,600 metres), Peter was able to selectively compose images and either combined or isolated each of these elements.

Peter is a Flinders Ranges based landscape photographer who has lived and worked in the Outback of Australia for many years.

His work almost exdusively centres around the Flinders Ranges and the Outback of South Australia where he's lived for quite a long time and where he finds never ending subjects to photograph. He now resides in Parachilna.

Peter is a former commercial pilot who has flown over some of the remotest parts of Australia including the Kimberly Country of Westem Australia, Cape York in far north Queensland and the vast Red Centre. However he ended up back in the Flinders Ranges where he started his photographic journey about eight years ago.

The area where most of Peter's works are captured is semi arid and arid country. Often his photos are taken in the heat of summer when colours are more intense during certain parts of the day and storms create spectacular effects on the landscape.

Peter has had two previous exhibitions in Adelaide and runs a successful blog and website which is followed by people from all over Australia and, at last count, about 45 other countries.

Peter's photos are printed on fine art paper using a printing process called Giclee. Under normal conditions Giclee inks are guaranteed to retain their colour for 75 years and are of archival standard. Peter exclusively uses the services of master printer David Hobbs whose skills in correctly rendering the exact colours captured during the shooting of 'Lake Eyre · The Long View' was a work of art in itself.

Portrait photography for kids - a workshop

NPP - Portrait workshop for kids - Flyer10febThis Sunday, February 10th 2013, the Flinders Gallery at the State library will be hosting a studio workshop run by Jennie Groom (Portraits of Australians) so your children can experience making and sitting for portraits. Photos of children by children. We will then provide prints that will hang in the Flinders Gallery as an extension of their National Portrait Prize exhibition. Families can pick up those prints after the exhibition closes on February 17th 2013.

The workshop is designed to bring the National Portrait Prize and portrait photography to a young audience (8-12 year olds).

Bookings for both sessions are a must, contact the gallery: 08 8207 7055 or email on

New York on film

New YorkEvery year I find myself heading off to Kodak's head quarters in Rochester New York for their prolab conference. It is a swell affair that fuels me with ideas. I always visit other labs on the trip, and invariably enjoy a wander with the camera. This last trip I felt like bringing my Mamiya7 120 film camera. I love how it feels in the hand, I love the aperture priority, the rangefinder focus and the big negatives it produces.

I am not a film nut. I use a Nikon d700 most of the time and I often travel with a Lumix LX3. But this trip I wanted to see New York differently.

The film I chose was Kodak Portra 400. I broke down the pro packs of 5 rolls into singles so the airport security theatre could inspect without X-ray. And this was to be my first and last surprise: At every security checkpoint, the guards were happy to feel the rolls, and do an explosives test. No questions asked. All I had to say was "this is high speed film, can you please hand inspect". Bingo.

So what was the downside of shooting film? As you would expect flexible ISO was the thing I missed most, although it only caught me out once when I wanted to make the ubiquitous subway photos. In the evening I left the camera behind. I could have opted for higher speed film, but that was not part of my plan.

Managing large rolls of 10 exposures was a bit fiddly, but I shot a lot less and a lot more deliberately. In total I shot about 11 rolls, or about 107 frames. There were few repeats, and few mistakes. Changing the film on the fly is an exercise in dexterity, but years of experience using a Mamiya Press on the racetrack came flooding back and I never missed an opportunity. The camera did not attract attention, and it's near silent "plink" sounding shutter was never noticed. A few saw me winding on, as that lever makes quite a sweep when advancing 7cm of film. The Mamiya7 hangs well from your shoulder and nestles behind your arm, it is light enough to not impede progress in a crowd, and quick to draw up as the strap comes from the right grip, so you find it easily.

I slipped back into the habit of prefocusing, where you judge the distance to subject as you draw the camera up and move the focus to suit and in the same action, checking the aperture suits. For me it was either wide open or f8. All that was left to do was compose and squeeze off a shot. No waiting for AF to hunt, no checking the LCD for the results, no options to tempt.Mamiya_legacy_h_m7II

Actually the option I did struggle with was I kept switching it off for fear of killing the battery. Which is really dopey because it takes months to flatten the battery in the Mamiya. I must learn to leave it on. But years of cautious digital use is hard to shed. What about the results?

I don't think I'm the most objective fellow, I have spend most of my life shooting film. I've pretended to be Ansel Adams lugging my 5x4 kit through the bush and Henri Cartier-Bresson with an Leica M4P in Las Vegas. So perhaps when I say I loved the experience of working with film again I'd been on a sentimental journey... I do like the way colour neg falls off to shadow and pointing it into the sun produces a look that digital struggles with. The physics of medium format gives the images a 'big' feeling, depth of field is shallower, lens boca is more effective. That 80mm standard lens (the only lens I have for it) is gold. It is a grand look.

And there is so much room to move inside the frame, so much resolution. In our experience, 35mm film through an average camera can be scanned to 25 megapixels, and there is room for six 35mm frames in one 6x7! So a big print is like looking through a window. Will I do it again: yes, why not? It is a possible choice, at least in the near future. Will I shoot digital: hell yes, it is fun, fast, flexible. What is my ideal camera: if LeicaM gets a sensor as good as the D800, I'd sell one of my kids.

If you want to see more from my trip, follow this link to Flickr.

Paul Atkins.

PS - Different story but, I worked with Simone Hanckel on our fantastic new sample images we have been using this year, and I shot both D700 and the Mamiya7 with Portra400. Simone's work was astounding as usual, my D700 shots were ok, but I spent the better part of a day working them to get the look and feel I was after...

But the 120 film shots were perfect, I gave the film to John Clarke in our C41 department, he processed and passed to our film scanning department and Karen Tilbrook did here usual great work, and bingo the look and feel was precisely what I had wanted. Not only did I shoot fewer photos, but the result was easier and as good if not better.

Was that me wanting a film look from my photographs, or is it still awesome...?

New York, hotel view New York - Intrepid Lancaster Tractors Antique Centre

Photo workshops all week
Here are some photos from the SAMuseum photo workshops. They are running all week, two sessions per day, 11.30am - 12.30pm and 1pm-2pm. Call the SA Museum to book.
The Nikon AIPP Event and finding your rat

Whilst driving back from this fantastic event in the Hunter Valley, I killed the hours catching up on podcasts and chewing over what could be learned from such a gluttons' feast of information that The Event was. As sometimes happens "Roderick on the Line" was my first queued podcast. John Roderick is a Seattle Indy Rocker, with a bizarre mix of towering ego, deep intelligence, wet yourself humor and espouser of common sense.

It was great timing because John's podcast started with a story of how a deeply domesticated ribbon wearing Dachshund lept from the arms of its unsuspecting owner to chase a sewer rat down a hole. The dogs gentle owner could only stare shocked as the rat and the hound accidentally bumped into each other and it threw the primeval switch on the dog. The owner had 'never seen that behaviour before' just as all dog owners say after that switch is thrown.

The story of the dog's switch being thrown reminded me of what many of us are looking for in life; "What was I put on earth to do?" And many of the speakers I saw at The Event clearly know their answer. They know their rat, what is instinctual to them, what makes them happiest. The lineup of speakers for this AIPP annual conference was breathtaking, The Event is now world class, and attracts real talent.

I'll define people with "real talent" as those who have dedicated themselves to their craft, and have pushed it all the way. They were not 'discovered' like so many of the celebrity generation, they have worked to this point, they have sacrificed, reinvented, and slogged their way to the top without a lot of second guessing or complaining. A few speakers were still climbing, but in all of them, you could see them chasing their instincts like that dog, following where ever they led.

So over the next few months I will let you know my impression of those I saw, and try to impart some things I learned from them. If you want to see some of presentations (note, not all could be recorded), you can pay to view the sessions that were recorded by the AIPP here:

Photography is film?

An interesting comment from one of the contestants of "Photo Finish", the ABC reality competition TV show. This episode involves the contestants shooting lo-fi with Lumo, Holga and Diana cameras. All three contestants enjoyed shooting film and the results were interesting. At the show wrap up, the winner stated "photography is film"...all three contestants seemed to have no experience in shooting film, but their day shooting film really inspired them. Can film really save itself? Will they keep shooting film?

I just returned from New York, and I chose to shoot medium format film. I had a blast. Working with the limits of aperture priority only, fixed iso, and manual focus was wonderful. The only restriction I experienced was iso, when I wanted to shoot in the subway. But for street work it was perfect.

What I loved mostly was the sense of importance I found myself putting on each shot. It really slowed me down, I was more considerate. I loved prefocusing and prejudging the aperture needed, it meant that when the camera was put to my eye I could shoot instantly without focus hunting or exposure consideration.

Is this a passing love affair for me...?

Well I know I am not getting 'married' to film, but it is an old love I cannot leave, I will continue to shoot it around using the D700, and perhaps until I can afford my M Leica digital which, rightly or wrongly, I am holding as my holy grail.

Back to the TV show "Photo Finish, It is doing a great job in promoting photography, printing and professionalism. What a great opportunity for our industry. Well worth watching.

We see quite about of Lumography shooters. Our film processing is kept quite busy with c41 (print film), e6 (slide film) and black and white at the moment. But I hope more people get married to film and enough have their affairs so we can keep processing it.

Voting is open!

Voting is open in the Adelaide's Best Wedding Photograph competition. Head down to the Winter Bridal Ideas Expo at Ridley Centre, Royal Adelaide Showground this weekend (2 & 3 June 2012), 10am to 5pm to vote on the prints.

Alternatively, you can vote on-line here. Remember, one vote per person, and a lucky voter will win a $250 voucher from AtkinsTechnicolour.

Click here to vote. Click here to find out more about the competition. 



I am still reeling from another great PMA and APPA convention. The PMA (Photo Marketing Association) is made up of photographic retailers and wholesalers, mostly camera stores and print providers. APPA on the other hand, is the Australian Professional Photography Awards, which is judged in the middle of the PMA trade show. The trade show attracted 20,000 visitors, and it covered most of the Melbourne Exhibition Centre (Jeff's Shed) and ran for three days. The visitors were mostly general public, but a big swag of the professional industry made the pilgramage to the largest photoshow in the southern hemisphere.

The APPA judging is intense, and made more so by it's location on the show floor. Interested viewers were stuffed 10 deep watching four panels of five judges look at thousands of images then , score, debate, and award. The results are slowly filerting out, and tonight is the gala awards dinner, the fifth and final night of partying...We will find out who got the highest scoring print, who won what category and who is Professional Photographer of the Year.

APPA really benefits from the exposure the tradeshow brings. APPA entrants are mostly AIPP (Australian Institute of Professional Photography) members. They are working photographers who are trying hard to raise their practise and improve their photography. The industry must educate the general public as to what it takes to be a professional photographer, and what is a great photograph. This show helps define and promote our industry members.

As a printing service we are having a lot of success at both state and nationally with our client's entries. This year Hilary Hann won Fine Art Photographer of the year with her portfolio of four images. Congratulations Hilary!

In paralell to the judging and tradeshow are a series of lectures run by even more indusrty bodies. Consider these: APCI, DIMA, PSPA, PIEA, PMA, AIPP, IDEA. There is a smogesboard to choose from.

As an indication of speaker quality, the IDEA group (the body that runs the show itself) secured AJ Riebli, a production manager at Pixar Studios. AJ had is not a public speaker, but he makes animated features such as The Incredibles, Finding Nemo and Cars. Opportunities to speak with people like this are rare. AJ walked us through the process of making La Luna, Pixar's recently Oscar nominated short film.

AJ wenth through the process from inception to final production, he discussed everything from sketching and modeling characters to lighting and special effects, we all felt closer to probably the worlds largest creative organism, Pixar studios. In no other industry are more creatives wrangled on one task, and AJ is one of the wranglers.

Last year, we were graced with the presence of Ita Butrose, she spoke about her life in business. Another amazing chance to learn from someone who has made so much from their life.

Strangely, both AJ and Ita's sessions were not full. The reason is that the PMA membership is dwindling due to sales moving on-line and through lack of printing. The PMA recognises that the tide has turned, wisely they are not attempting to stop the tide. They are in the process of refocussing the organisation to bring education to all photographers and promote buying locally.

There was nothing stopping the APPA and PMA attendees from seeing AJ or Ita, infact they walk past the entrance to the auditorium on the way to the judging! What is lacking is the communication between two parties who really need each other. Sometimes the solution to your problems lies with your neighbours, and you just need to lean over the fence and ask.

Paul Atkins.



Capture the Season - winter reds.

AtkinsTechnicolour are proud to be behind this annual competition, it is a great opportunity to head to the hills with your camera, and the prizes are excellent:

Mists rolling through bare vines. Blazing fires, hearty local fare and award winning red wines. Rug up, join us and capture the season of winter in the Adelaide Hills. Weekend program of events available here mid-May!


Celebrate the winter beauty of the Adelaide Hills by capturing your own image of the season. Shortlisted images will be displayed at the Hahndorf Academy's "Capture the Season" SALA Exhibition. Over $3000 worth of prizes to be won! Refer to the TERMS AND CONDITIONS for full details.

How to enter:

  • Take an image of people or places that represent the Adelaide Hills in winter, using a camera or smart phone camera
  • Complete the entry form/entry fee below ($15 per image to enter)
  • Competition opens May 11, closes June 25, shortlisted entrants will be notified late June

- Prizes will be awarded at opening of Hahndorf Academy SALA Exhibition, July 25By submitting this form, you acknowledge and agree to the terms and conditions for the "Capture the Season" Photographic Competition and that the photograph/s submitted by you for the Competition is your own original work, was taken in the Adelaide Hills and has not been entered in any previous competitions.

Are you thinking about fusion?

The Grandfather.A Photo Essay by Todd Heisler and Alexis Mainland.

This is an astounding example of using still photos with spoken work to create a memorable portrait. Very moving. This should be inspirational for all, and photographers, a guide into the world of 'fusion' where stills can be used to make a short video.

This is a New York Times presented essay and is a part of a series "One in 8 Million" that tells the story of New York characters. It is a mix of images from Todd Heisler and interview and production by Alexis Mainland. Enjoy.

Link to video.