Almost Weekly Photo



Date:      Thursday 22 February 9:30am - 4pm 


Venue:   Fine Photography Studios,1015 Pacific Hwy, Pymble, Sydney 




Photography is simply painting with light, but so few photographers nowadays have mastered the art of “seeing the light” and they rely on Photoshop and other digital enhancements, to create a good image.


Creative and well lit images will separate you from your competitors, and is an important key to your photography business being successful.


The general public no longer accept ordinary imagery, so don’t expect to get a good financial reward from being an ordinary “natural light” photographer. You need to take your photography to the next level and then you can reap the financial rewards.


“Switching On The Light” will be a day of learning and demonstration by 4 NSW based Masters of Light.


Peter Eastway is a Grand Master of Photography, a Fellow and an Honorary Fellow of the Australian Institute of Professional Photography, and a Fellow and Honorary Fellow of the New Zealand Institute of Professional Photography. He won the 1996 and 1998 AIPP Australian Professional Photographer of the Year Award. He is a WPPI Master of Photography. Peter wil do an introduction on the theory of lighting - size, angle, lightshaper etc.


Heath Wade is a Master Photographer and has won the AIPP NSW Wedding Photographer of the Year in 2015, 2014 and 2013. He also specialises in innovative and creative portrait photography in his studio, using a simple two studio light set up and a silver reflector. Heath will demonstrate how he lights a range his portraits in his own distinctive style, that has made his business one of Australia’s most successful studios.


Carol Gibbons has run her own highly successful studio for over 20 years. She is a highly awarded AIPP Master Photographer who specialises in photographing People and Pets. While studying Fine Art, Carol found photography was her passion and pursued further study in Art Photography, and completed her Diploma. About half of Carols portraits are photographed outdoors, while the rest taken are in her natural light studio. She will how to “see the light” to produce award winning images.


Dan Cantero has been a photographer for over 15 years, and is sought after not just for his commercial work but also for his family portraits. He has developed expert techniques in the use of multiple speedlights, which allows him to photograph in any location and produce stunning images. Dan will show you how you can use speedlights outdoors and in a studio set up produce stunning images. Dan will show you how you can use speedlights outdoors and in a studio set up produce stunning images.



Yosemite National Park, California.
Phase One XF, IQ3 100MP Trichromatic Back, 240mm lens, 1.3 seconds @ f12, ISO 50


It’s not every day you run a camera bag with two 100MP backs, but on my recent photo tour to South West USA with Tony Hewitt last month, I borrowed a new Phase One IQ3 100MP Trichromatic back. I attached the loaner to my XF body and left my ‘straight’ 100MP on the A-Series for my wide-angle 23mm Alpagon, but I didn’t hang them both over my shoulder like a gun-slinger!


Our first shoot was in Yosemite National Park. There’s so much to discover in Yosemite from the ring road that travels around the bottom of the valley, that many people don’t get out onto the walking trails. I remember Kathie (my wife) and I walking up to the top of Yosemite Falls before breakfast (many years ago now) and me hardly making it back down as we hadn’t taken any water or food. It was only a short walk, or so I had incorrectly thought.


Earlier trips have shown me there are lots of things to photograph out on Yosemite’s trails, but if you’re only in the park for a couple of nights (as we were), there is more than enough to keep you occupied down on the flats. I guess the point I’m making is that the trails are great, but if you’re not so actively inclined, you’ll still find lots of material a short distance from your car. And Yosemite really has done a great job in hiding the roads throughout the valley.


So, back to the Trichromatic back. What’s the difference? Both share the 100-megapixel resolution, but the Trichromatic back has a cleaner, purer colour palette. I’m still struggling to identify exactly what the differences are, but having just processed three photos from our first evening in Yosemite, I am delighting in how the colour is turning out. It’s different.


For example, Phase One suggests that many modern sensor designs sacrifice absolute colour quality for higher ISO settings. The Trichromatic back has a native ISO of 32, but it can still shoot at 12,800 ISO and produce ‘good’ results, meaning there’s some luminance noise, but far less chroma (or colour) noise, thanks to its different design.


The colour response to the three colours is also truncated, by which I mean there is less ‘contamination’ of one colour into the next, which in turn makes editing the files better.


So, here are three images from my testing the new Trichromatic back from day one. I’ll show a few other files as I work my way through a wonderful 11 day shoot. If you’re interested in joining Tony and me next year, we’re planning on going a little later – February 2019. Let me know if you’d like to put a place aside!


Join Peter Eastway for an Evening Atelier at Dee Why RSL - Sydney.


Peter will be running 5 Evening Ateliers over the next 6 months.  Each will contain different content.  See brochure below for details:


For bookings and dates, visit the Better Photography website:

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