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Whether you’re a keen amateur or a passionate professional, Snap Happy is the show for you. Maddie Sloane meets some of Australia’s best photographers and finds out what drives their passion. Darran Leal takes us on some amazing photographic adventures and offers some really practical advice. Peter Eastway shares some insight into his post production workflow and James Treble gives us some handy tips for decorating our homes with prints. Our dedicated team will inspire you to become a better and more passionate photographer!

SERIES 4 - 2018

12:30pm, Sundays on Channel 10 Boss

Also available on TenPlay 

Episode 1 (4-11-18): Maddie chats with Fujifilm ambassador, Steve Christo, to get some insight into his career as a sports photographer. He also gives us some handy tips for capturing fast action. We welcome our new presenter, Darran Leal of World Photo Adventures, as he takes us on tour in stunning Alaska to photograph Humpback whales. Peter Eastway introduces a new weekly segment to help improve our post production skills. And designer James Treble, returns to give us some tips for decorating our own living room with prints. 
Episode 2 (11-11-18): Maddie meets up with Lumix ambassador, Aubrey Daquinag, to find out all about her new book titled Wander Love. She also gives us some handy travel photography tips. Darran gives us some practical and creative advice for photographing wildlife and landscapes on stunning Fraser Island. Andrew Hall talks about the new Fujifilm X-H1 camera and why he loves it for capturing motorsports. And, Peter Eastway visits Taronga Zoo to give us some great advice on cropping techniques.
Episode 3 (18-11-18): Maddie chats with Mark Galer about why he loves new technology and talks about the Sony mirrorless system in his kit. Darran takes us to Anan Creek in Alaska to get up close and personal to bears. Peter Eastway helps us get our heads around HDR photography and processing these images in Lightroom and Photoshop. And James Treble helps us decorate a nursery with canvas prints and photo blocks.
Episode 4 (25-11-18): Maddie chats with Fujifilm ambassador, Anastasia Woolmington, who gives us some insight into her landscape and wedding photography and how she combines the two. Darran takes us to the rainforest on Fraser Island for some unique photographic opportunities. Peter Eastway gives us some tips on using contrast, highlights and shadows effectively and takes us through the process of creating a stitched panoramic photograph using Lightroom.
Episode 5 (2-12-18): Maddie catches up with Ken Duncan and he gives us some great tips on creating a panoramic photograph. Darran concludes his Alaskan adventure by exploring the vast waterways and photographing glaciers. Maddie creates a photo book from her trip to Fraser Island. And Peter gives us some advanced Photoshop techniques and shows us how to replace a sky.
Episode 6 (9-12-18): Maddie visits Dale and Karlie of DK Photography to find out how they became the dynamic duo of landscape photography. Darran explores the west coast of Fraser Island and gives us some great tips for photographing wildlife. Ian van der Wolde talks about long exposure photography and why he likes to process in black and white. And Peter gives us another post production tip using the Wacom Mobile Studio Pro.

I'm currently into the final stages of putting my book, The New Tradition, together. The two copies of the book I had printed by Momento Pro (and which won a Gold with Distinction in the AIPP Australian Photography Book Award recently) were 'proofs', so to speak. We've used them for double checking, proofreading and I'll also send a copy to the offset printer so they know the colours they have to match.

And this is a part of photography that not a lot of photographers get to see - or indeed, need to see! On-demand printing needs RGB files, while offset printing needs CMYK.

When I send my files off to Momento Pro for printing, I keep them as standard RGB files. I suggest converting all your files into Adobe (RGB) colour space. 

However, when you use an offset printer, CMYK files are required. It's the same file but instead of comprising red, green and blue channels, it's made up of cyan, magenta, yellow and black channels. It's just a button press in Photoshop, but behind the scenes, lots of things can happen.

So, why not have Momento Pro print all of the books and not worry about CMYK? Cost! I'd love to have them all printed by Momento Pro, but then I'd have to charge a lot more for the book (although if you'd like a Momento Pro version, it is available on the website).

Over the years of producing the CMYK conversions for Better Photography magazine, we've learnt a few things. First, it's best to work with a colour space (like U.S. Web Coated [SWOP] v2), rather than a custom printing press profile. We've also found that the standard Photoshop CMYK conversion flattens the tones, so we tweak the files afterwards. Generally speaking, this is a 15% lightening of the mid-tones across all the channels, and a slight clipping of around 6 points on the black channel to ensure we have some good blacks.

The press in Hong Kong will also be doing machine proofs for a number of the pages, which we can compare against the second copy of the book printed by Momento Pro. It is a big expense, but it's worth it to ensure you're going to get the quality.

So, if you're producing your own book of photographs for an on-demand printer, keep your files in RGB. On the other hand, if you're going for a long print run with an offset press, get some expert advice to ensure your files are correctly converted.

And this photo, Santa Maria dei Miracoli? I wonder if this will become the signature photograph of The New Tradition because it represents the time when photographers could finally work like artists, and not be limited by the camera and technology. You can read more about The New Tradition and even advance-purchase a copy for a significant discount!

Check out the video and the flip-book on the website - and maybe you'd like to purchase a print with your book at the same time? You can save over $40 if you order before December!

For more details, click here!

For photographers, an homage is an acknowledgement of those who have gone before us with a respectful deference. Without seeing their photographs and reading their stories, we wouldn't be where we are today, certainly not in a creative sense.

In the mid-1970s, my godmother gave me my first photography book: The World of Olegas Truchanas. By today's standards, the photographs are only average, but at the time, they were groundbreaking. Truchanas was also a big inspiration for Peter Dombrovskis, another Australian photographer who makes Tasmania his home. Their links are very close when you learn that it was Dombrovskis who recovered Truchanas drowned body from the Gordon River.

Dombrovskis was recently honoured with a book and an exhibition of his work at the Australian National Library in Canberra (which we reported on at the time). And perhaps Dombrovskis' second most famous photograph (after his photo of Island Bend) is of the three pandanus trees above Lake Oberon in the Western Arthurs. 

Like Truchanas, Dombrovskis also died out in the wilderness, doing what he loved. He was reportedly under Mount Hayes, not too far from Lake Oberon.

A third Tasmanian photographer who has had a great influence on me is Richard Bennett. You can read all about Richard's life and photography online in a recent issue of Better Photography (grab a subscription and all the back issues are available to you). Richard and I have been on several Tasmanian walks together, but we never quite made it to the Western Arthurs, although we talked about it a lot. Richard said it was a place I had to go and his photographs inspired me to make the trip.

However, when I sounded Richard out a couple of years ago, he didn't seem so keen and I wondered how many years I had left before I mightn't be so keen either! The Western Arthurs walk, after all, is claimed by many to be one of the most difficult in Australia.

Mindful that Truchanas and Dombrovskis met their ends out in the wilderness (Richard, I'm glad to report, remains very much alive on Bruny Island), I engaged the services of photographer Phillip Norman and trekking guide Callum Baker to help me make the journey. I carried in a Phase One A-Series 100MP with 23mm, 70mm and 180mm lenses, a light weight tripod and some Nisi filters. The boys carried in my tent, food and extra clothing, plus their own gear, for which they have my appreciation.

And so I managed to get to the Western Arthurs. You can see a short video I've made here on Youtube:

No matter how connected we all are on social media and the internet, photography remains a personal pursuit and I think it's good to have projects and goals in mind. I spent a lot of time considering Dombrovskis's famous photo from above Lake Oberon and how to create an image that respected his preeminence, while representing my aesthetic and a digital workflow. So instead of the three panadanus trees in the foreground, I included the stepping stones that lead down to Lake Oberon, acknowledging the fact that this isn't a new photograph, or a new trail, rather a homage to one of Australia's great wilderness photographers.

The photograph is a combination of three exposures on two separate days, with some spatial adjustments to enhance the size of the peak behind the lake. It was gratifying to note that some of the judges at the recent AIPP Australian Professional Photography Awards recognised the location, but didn't comment on these spatial adjustments, which in The New Tradition, I take as a compliment!

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