New blood in SAE Auckland’s film department

Students who have kick-started their year, and their film career journey, by attending SAE Creative Media Institute, will be able to draw on the knowledge and experience that their new film lecturer, Dawn Hutchesson, brings to the table.

Joining the SAE Film Studies Department on a permanent, part-time basis, Hutchesson will be primarily taking care of Bachelor of Film Arts degree students, guiding them towards, and preparing them for jobs within the film industry.

Hutchesson is already a familiar face around SAE, as she spent 2016 teaching at the institute, and students can rest assured that they are in extremely capable hands, as Hutchesson holds a masters degree from Auckland University, a certificate in adult learning and teaching from Wintec, a national diploma in advanced journalism from Massey, as well as certificates in leadership management enhancement and strategic management from AUT.

She was previously the manager of Colab, AUT’s Creative Technologies Research Centre, and prior to that management role, Hutchesson was a programme manager in Unitec’s Performing and Screen Arts Department and a senior lecturer in the Media Arts Department at Wintec.

Dawn has also consulted for various agencies, including Auckland Council and ATEED. She has been a TV director, producer, project manager, and copywriter with agencies in New Zealand, UK, and Ireland. She was also the co-director and producer for the renowned documentary film Sheilas, and producer on the short film Rockpool

Dr Suzette Major, campus manager at SAE, says, “We are very fortunate to have Dawn bring her wealth of knowledge and experience to the SAE team, but beyond this, she is a fantastic role model to our female film-making students.”

A photography tour through India

When her 20-year career as a freelance photographer started to become a little less busy due to the arrival of the internet, Liz Light decided to set off on a new path. While still maintaining her photography and writing career in New Zealand, she also decided to start a company that would find her in her favourite location, India, on a regular basis. Light decided to start a special-interest tour company called ‘Colour India’.

“I had been obsessed with India since I saw a photograph of women wearing saris when I was nine years old. I have worked there, lived there, and visited many times — and it is such a great country for photography,” Light explains. “It has thousands of years of tradition of art, architecture, and spirituality; thousands of kilometres of soaring mountains, cities heaving with humanity, vast spacious national parks, and a quirky off-the-wallness that is unique to this extraordinarily place. And, generally, people [there] like being photographed.”

Colour India sees Light host two small-group photography tours each year (with a maximum of 10 people per tour), which head to India to coincide with two extraordinary festivals — one in March, and one in October.

“The October tour has two days of luxury camping in amongst the Pushkar Camel Fair. The March tour coincides with Holi in Varanasi, and, again, we stay right in the middle of it in a heritage hotel on the ghats [steps to the Ganges River].  Both celebrations are colourful, crazy, and nothing like you [will] have ever seen or photographed before,” Light enthuses.

On both tours, you are destined to have opportunities to interact with and photograph the people and heritage of Kolkata and Varanasi. You’ll see tigers, birds, and a vast array of other wildlife in the Bandhavgarh National Park, and you’ll have four days in Himalayan Kashmir. In addition, you’ll be able to get your Taj Mahal shot, as well as encounter the bazaars of Delhi to not only capture beautiful images but also fill your bags with treasures before you head home.

You’ll be travelling by minibus, and there will be knowledgeable, photography-savvy guides at each stop — and, instead of being stuck on long bus and train trips between faraway destinations, you’ll be popped on internal flights and stay in luxurious accommodation.

Keen to book your spot for the October Pushkar Camel Fair experience or interested in learning more about Colour India and how to get involved? Just head to, or contact Liz Light by email at, text via 021 2353932, or phone on 09 422 0111.


Lara Wyatt

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Professional-grade prints from your home studio

Outsourcing your printing for a gallery installation or exhibition opportunity can often be costly and time-consuming, but Epson has put the power back into your hands with the SureColor P5070.

Being able to print professional-quality images from your home studio could add the finishing touch to your working environment, whether you’re looking to print test sheets to compare tone and colour, provide tear sheets to clients, or update the shots in your portfolio. Introducing Epson’s SureColor P5070 large-format printer will cut out those trips to the print shop and will mean that you’re in control of the quality and cost.

The new model is a step up from the semi-professional P800 launched last year, with higher print speeds, lower running costs, and an integrated auto-cutter for improved productivity. It features Epson’s latest PrecisionCore thin film piezo (TFP) printhead and UltraChrome HDX 10-colour pigment ink technology, which delivers stunning images with an increased colour gamut, higher density blacks, and reduced running costs. With a refined design incorporated to improve dust and static control, the printer boasts production and resource efficiency, with reduced nozzle clogging. Setting up the printer is straightforward thanks to the full-colour 2.7-inch LCD control panel that allows easy set-up, control, and maintenance of the printer.

General manager, Business Division, Epson Australia Craig Heckenberg says, “The SureColor P5070 is the latest addition to the Epson SureColor product line, which is bringing Epson’s photographic technology to the next level. Sitting above the popular Epson SureColor SC-P800 in the range, the SureColor P5070 packs all of the SureColor printing technology into a 17-inch desktop model, providing photographers and graphic designers with the best imaging [that] technology has to offer.”

The SureColor P5070 uses 200ml UltraChrome HDX 10-colour ink cartridges, which use newly developed core pigments. These new inks enable enhanced print durability and blacks that are 1.5 times denser than the previous generation. They deliver a wider contrast ratio with improved resin encapsulation technology for higher levels of gloss uniformity, and images that are optically clearer and sharper.

The SureColor P5070 supports two different ink configurations: one which uses ‘Light Light Black’ and one that uses ‘Violet’ ink. Light Light Black delivers smooth and neutral tonal transitions, and supports Epson’s Advanced Black and White Print mode. If you’re working in the photography, fine-art, or graphic-design realm, this configuration is ideal for you. Using the Light Light Black set-up delivers 98-per-cent PANTONE®* coverage. When configured with Violet ink in place of Light Light Black, the SureColor P5070 achieves an expanded colour gamut to deliver 99-per-cent PANTONE® coverage, which is ideal for commercial, graphic, and proofing applications.

The high-capacity power-driven roll media spindle and internal high-speed single-pass rotary cutter make the P5070 ideal for multiple print production and panoramas up to 15m. The high-capacity front paper cassette can hold up to 100 sheets of premium photo paper, and can print on sheets up to A2+. The P5070 also features a front-feed straight path for delicate fine-art sheet media and poster board up to 1.5mm thick. Auto-switching between roll and cassette-sheet feeding allows both sources to be loaded at the same time.

The SureColor P5070 is available through authorized Epson dealers complete with an optional SpectroProofer, and CoverPlus service packs for up to five years. The standalone printer starts at $3295 including GST. For further info, visit

*PANTONE® and other Pantone trademarks are the property of Pantone LLC.