NZIPP PRO Report March 2016 by NZIPP NZ Institute of Professional Photography

Report BE INSPIRED, BE SUCCESSFUL, BELONG

NZIPP MAGAZINE MARCH 2016

Winner of 2016 WPPI Grand Portrait prize Vicky Papas Vergara joins us at Infocus Wellington!

NOT A MEMBER OF THE NZIPP YET? As an accredited member of the NZIPP you have the support, networking opportunities and camaraderie of your peers within your industry. It also adds credibility for your clients that you are a professional photographer. Belonging to an institute that represents all areas of professional photography in New Zealand, and through our focus on education, advice, and a wide range of membership benefits we will help you improve the success and vitality of your business. Your accredited member benefits will include: · · · · · · ·

Epson NZIPP Iris Awards (member rates) Infocus Conference (member rates) Meeting and Networking opportunities Professional Development Membership Discounts PRO Report eMagazine Scholarships

Come along to your next regional meeting to check out what becoming a member is all about! Contact info@nzipp.org.nz

MISSION STATEMENT To champion, embrace and communicate excellence and professionalism in photography.

CONTACT NZ Institute of Professional Photography (NZIPP) P O Box 133158, Eastridge, Auckland 1146 New Zealand W: www.nzipp.org.nz E: info@nzipp.org.nz

We welcome your feedback and thoughts. If you have something to say, send it through to:

Cover Image: Image © Vicky Papas Vergara

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info@nzipp.org.nz

CONTENTS Executive Updates 04 Vice Presidents Report 06

Directors Report

Honours Council Report

NZIPP Update 10 Q Submissions

Project Updates 34 Christchurch 5 Years on Member Profile 36 Tina McGregor ANZIPP Whatâ&#x20AC;&#x2122;s In My Bag...? 44 Myra Bayly

Infocus International Speakers 12 Susana Barbera

Photo events & useful links

Vicky Papas Vergara

James Simmons

Auckland Festival of Photography / Get Clicking

Corporate Members NZIPP News 27 NZIPP on Facebook

Thanks to our Corporate Members

Regional Updates 28 Auckland / Northland Region 30

Waikato / BOP Region

Otago / Southland Region

Canterbury / Westland Region

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EXECUTIVE UPDATE

Vice Presidents Report Tracy Stamatakos FNZIPP

CHANGE BRINGS OPPORTUNITY Some of us resist change and others embrace it… inevitably there will continue to be change in our organisation as determined by the voice of the membership. For many years the current qualification system has been run by the directors of the board. We have identified the need for more guidance, especially for new members, and with the increasing workload the board feels that a standalone committee for the assessment system be formed to ensure a more consistent process including countrywide workshops, portfolio advice and individual assessments from current Q panel judges is available all year round. We are excited to announce the first step towards the revamp of the current NZIPP Accredited process by appointing Sarah Beaufoy as the Q’s coordinator. Sarah brings with her a wealth of knowledge, a background in Fine Arts and Teaching Photography and Design within the NZ Education System. Sarah will work with other members of our organisation and beyond to bring together a pool of talent for judging and critiquing plus guidance and preparing a portfolio for review The shift to digital submissions… Digital vs printed submissions has been a hot debate for many years now. The board has made a decision

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to phase out printed submissions with the hand over to the new coordinator and committee. The board and honours feel print will still be highly valued and represented in the form of our NZ Iris Professional Photography Awards one of our public platforms . This change has not been a reaction to the shoot and burn business model but one favouring a sustainable assessment process. As a non profit organisation we cannot continue to fund travel to ensure a diverse and experienced judging panel. We will also have the opportunity to create new categories for members who have felt their work “didn’t fit “anywhere and allocate the appropriate judges The Commercial category for some time has had the option of a digital assessment with 100% of submissions being just that. Portrait had the option of a 12 prints submission or 12 images in book / album form. Wedding was considered the most costly of all the categories with a printed album required along with a second wedding in digital form. If a printed wedding album submission was unsuccessful the entrant was required to supply another new fully printed album for resubmission. (Now most of you will already see there is a huge financial imbalance between the categories…not exactly fair.)

Once the Q panel had failed a printed bound album the member now deemed the album unusable as not meeting NZIPP standards inturn leaving some members disgruntled and hundreds of dollars out of pocket, a resubmit seemed undesirable at this point.

falling over the summer is not ideal for our wedding members. Information directly related to the process will be available to members via the private Facebook page as it comes avaiable.

Printed but not bound pages have already been tested for resubmits but with most album suppliers and design software not allowing a high resolution output the digital album submission looked like the best solution for the wedding category too. Good quality colour correct proof sheets will still be required to be sent as a reference with the files plus the business requirements and application form. This should alert us to any great variations when reviewed on screen. The board feels that this new digital submission will educate and make all involved accountable for good solid calibration processes. In past Q submissions we have compared prints to digital files supplied, and have found that you are able to hide many file flaws in a printed image. The new digital process will be more transparent than we first imagined and by implementing this change we hope to make the assessment a more positive experience for our members. Digital portfolios may also mean an increase in submission dates so unsuccessful applicants wonâ&#x20AC;&#x2122;t have to wait as long for resubmission datesâ&#x20AC;Ś.for example we are aware that submission dates PRO Report / Magazine of the NZIPP

EXECUTIVE UPDATE

Directors Report Clinton Lloyd FNZIPP

It’s wedding season. Well at least it was when I wrote this. If you’re a wedding photographer you probably won’t do anything but skim read this until June… but on the off chance that you do there is something I’d love to talk about. You. Yep you, that super talented photographer doing their absolute best to deliver great photos and customer service to your clients, while at the same time dancing on the precipice of exhaustion. It’s exhausting shooting weddings. Don’t get me wrong I love it, but oh boy is it tough. At the end of the day not only does my body feel like it’s been through a half marathon but my brain feels like every good thing it has was put into the photos I took that day. (Yet I still can’t get to sleep because it’s also replaying everything I could have done differently and taunting me with unlikely scenarios like my memory cards and offsite backup spontaneously combusting.) I think it’s so exhausting because creativity is tapping into who we are at our core. Sure there are plenty of times on weddings where we are operating from our technical understanding of cameras and the wedding process to get great images, but there are also (hopefully at least) plenty of moments where the technical aspect plays sidekick to straight up ‘creativity-busting-a-capon-this-wedding’. It’s those moments are the ones that I find simultaneously exhilarating and draining. It’s those moments that create art that holds emotion and heart delicately within a kick butt photo. That’s what we want to do for our clients. But what is the cost for us. How do we give out so much week after week and still stay sane, still say fresh and

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inspired to give everything for the wedding the next day. I think as creatives we need to focus on our input as much as we obsess over our output. What do you do to recharge yourself? What do you do to ensure that you don’t turn wedding cynical? What do you do to ensure you don’t just revert to shooting the same old things? Three questions that I don’t have all the answers to, but am trying to figure out for myself as I try to find the happy median between booking enough weddings to hit my financial goals, but not too many so that I can still do a good job. Anyone have any brilliant insight on that for me? The argument to charge more (or just what you’re worth to start with but don’t get me started on that) is not merely about sustainable economics, it’s about sustainable creativity. If you have to take on every single wedding you possibly can, just to stay afloat, I would suggest that it’s not just your budget that is going to have an issue…. Your entire being, who you are and where you create from is going to be impacted. As a result I reckon that you run a high risk of creative (and mental/physical) exhaustion, and are likely to end up in headspace that can’t create to the potential you have within just because you are too busy being a resentful hamster on the photography treadmill. And resentful hamsters don’t make for good photographers. To put yourself in positions where you are resentful of the obligations you have taken on is a sure fire way to kill your joy for something. And if you’re finding any joy in what you do, then I think you will really struggle to create.

So what? In the middle of your busy season where each day doesn’t quite tick enough of the to-do list as you need it’s time to get counter intuitive. Stop.

Do something you suck at. Like hip hop dancing with your three-year-old daughter to Justin Beiber songs. (I suggest you close the curtains to your neighbours first)

Just for a moment even. But hopefully longer than that. I’ve been thinking about things that recharge me lately, and have spewed up a couple in writing if you’re interested.

Invest in yourself, register for Infocus, get along to meetings or seminars even if it doesn’t seem to be directly related to your genre of photography.

Take a day off to reconnect with family and friends that you’ve been ignoring since the wedding season hit you over the face with a million photos to cull, edit, rescue, print or deliver. Ditch the cellphone and just enjoy people in real time. Get out of the city. Watch a sunset somewhere hard to get to. Don’t even take photos, just enjoy the darn sunset. Look at other photographers work NOT to critique or compare yourself with them, but rather just to appreciate what they have created. Just enjoy what other people create and don’t get sucked into the “I should have done this” or “they should have done that differently”.

Go to your local art gallery and spend time looking at work that like me you probably don’t understand. I can’t paint, I can’t write essays about the juxtaposition of this and that in postmodern art, but I tell you what, when I wandered through the recently reopened Christchurch Art Gallery… I left feeling excited about what I could create. What are your tips/techniques? I’d love to make a big crowdsourced list with everything weird and wonderful. Almost like a list of self “dares” that you could draw out of a hat each week just to freak you out. If you were keen to share I’d love to hear so email me or come have coffee together sometime!

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EXECUTIVE UPDATE

Honours Council Report Kaye Davis GMNZIPP, MAIPP II, MCGD - Chair of the NZIPP Honours Council On behalf of the Honours Council Team; Blair Quax, FNZIPP, Accredited Wedding Photographer Esther Bunning, GMNZIPP, Accredited Wedding and Portrait Photographer Paul Daly, FNZIPP, Accredited Commercial Photographer.

This month we see the release of the 2016 NZ Iris Professional Photography Awards Call for Entries document. Please join us in thanking Epson, as the major sponsor, in supporting NZIPP to once again bring you these awards, where we celebrate the amazing creativity and expertise of NZ’s leading professional photographers. It is therefore timely to remind everyone that reading the rules and guidelines is crucial. One of the toughest jobs we have each year is ringing entrants notifying that one, or more, of their entries has been disqualified. The reasons never anything more than that the rules haven’t been followed. The following two rules are the ones that still seem to catch people out, so please ensure you are familiar with these when selecting and entering your work: •

Same subject - NO two photographs of the same subject may be entered. This refers to any of the core/major elements in an image and doesn’t necessarily relate just to a model or person. We therefore recommend that in the spirit of the competition you enter different, unique and a diverse range of images. Each image should reflect a professional ethic to present images

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photographed on different occasions and of different subject matter. •

Print size - The visible portion of an image, inside any matting, must be no smaller than 26cm on the longest side. The ‘visible portion’ refers to the image itself and excludes any negative space or border. •

The largest print size accepted is 40cm x 50cm, which is the same as the specified matt board size.

•

The only exception is for original Polaroid prints and transfers, where the medium dictates the size. In this case the image may be presented at its original/full size.

•

For a series, made up of 2 or more images on a single mount, the combined length of all the images (visible portion) must be no smaller than 26cm along the longest edge.

•

Prints must be mounted onto 40cm x 50cm matting, no thicker than 6-7mm.

click here to download the 2016 IRIS AWARDS call for entries & get entering!

www.infocus.org.nz

Iris Awards Updates:

categories such as Landscape, Portrait and Illustrative.

New Category

Category Retirement

We are really excited this year about introducing a new category to the lineup - Wildlife and Wild Places, a category that celebrates the beauty, wonder and diversity of nature, be it on the land, in the sea or in the air. Including: land animals/mammals, aquatic life (marine and freshwater), the natural landscape or environment, astrological scenes, birds, insects, amphibians, reptiles and flora.

It is with absolute reluctance that we will not be offering the Wedding Album category this year. While the category is hugely important for the industry, the lack of support it has received from entrants for a number of years now has made it unviable to run.

A sister category to Wedding Classic and Portrait Classic, Wildlife and Wild Places also focuses on awarding creativity, originality and innovation through in-camera expertise. It is our hope that this is a fresh offering and opportunity for many more professional photographers out there. The rules and requirements for this category are fairly extensive so please ensure you read them carefully before submitting your entries. We encourage people to pass this information onto anyone you think might be interested in entering this category.

On a final, and more positive note, the NZ Iris Professional Photography Awards are open to all NZ and overseas professional photographers; seen as an investment in both personal and professional growth, and one that reaps so many rewards. As you prepare your entries, remember the Iris Q & A Facebook group as a forum where we will be putting out information around the awards and for members of the group to ask questions. So, if you havenâ&#x20AC;&#x2122;t already signed up to this group take that step today to be kept informed.

A word of caution here though, is that this is NOT a category for domestic animals/family pets, farm animals, zoo animals, captive wild animals, wildlife captured with bait or cultivated plants - these should be considered for PRO Report / Magazine of the NZIPP

UPDATE

Qâ&#x20AC;&#x2122;s Submissions Sarah Beaufoy MNZIPP - Qâ&#x20AC;&#x2122;s Coordinator

The new digital assessment process will be more transparent, cost effective and efficient for both our members and the NZIPP. This change means an increase in submission dates for assessment and we encourage you to become Accredited as soon as possible so you can enjoy the member benefits, especially if you are considering entering the NZ Professional Iris Photography Awards. Next submission date: 3rd May, 2016 For more info go to www.nzipp.org.nz. Login into the members area and you will find details under the Members Info tab. Digital submissions for wedding and portrait categories are allowed for this round. For more information please contact Tracy Stamatakos directly at tracy@ oneblacksheep.co.nz

All post submissions to be sent to: Tracy Stamatakos 92 15th Avenue Tauranga 3112

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get ready to be blown away. announcing infocus wellington 2016 speakers. more speakers announced soon! PRINCIPAL SPONSOR:

INFOCUS

WE LLINGTON 2016 www.infocus.org.nz 11

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CLICK FOR MORE AMAZING SPEAKER IMAGES ON THE INFOCUS WEBSITE

INFOCUS INTERNATIONAL SPEAKER

Susana Barbera (SPAIN)

“I go crazy with Susana’s work. She is full of infinite magic. Her pictures are close to the ones from the classic masters, perfect on emotion, technique and personality. They are full of feminine magic but they go straight to your soul with a sensual touch!” - Sion Fullana

Susana Barbera is an International reference in documentary wedding photography. Her committed and passionate work, creativity and mastery in the use of black and white have earned her numerous international awards and taken her to her other passion, teaching and sharing her philosophy of believing in magic to let the Universe surprise you. When that happens your are able to see the right picture at the right time. Teaching and finding the potential in each student is her goal, we are all different, we dont need to be a copy of anybody else but be the best of ourselfs. Greatly inspired by the art of street photography,

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Susana’s images are as striking as they are filled with action and intensity. They engage, amaze, and entertain as she successfully infuses a glimpse of her own sense of humor into each piece.

Images ÂŠ Susana Barbera

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Image ÂŠ Susana Barbera

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Images ÂŠ Susana Barbera PRO Report / Magazine of the NZIPP

WPPI Las Vegas: Second Place: Creative/Fashion PRO Report / Magazine of the NZIPP

CLICK FOR MORE AMAZING SPEAKER IMAGES ON THE INFOCUS WEBSITE

INFOCUS INTERNATIONAL SPEAKER

Vicky Papas Vergara

WPPI Las Vegas: First Place Grand Award: Creative/Fashion

Manifesting her journey through a vision, photographer and couture artist Vicky Papas is the creative brainchild behind the brand VERGARA. Her innovative gifts of photography, painting, creating wearable art, and styling, hallmark VERGARA glamour. Her free spirited boundless approach to life is the essence of VERGARA that led her to a spring of creativity, that for many years, lay dormant.

Images ÂŠ Vicky Papas Vergara Her uncanny ability to connect intimately with all of her subjects allows the viewer to identify with her images on a deep and familiar level. In a short space of time VERGARA and her multi-faceted talents have been quick to evolve into a dynamic brand, and collaborating with other creatives in the industry Vicky is in her element!

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Images © Vicky Papas Vergara

Highest Achievements •

•

2015 WPPI International Photography Awards in Las Vegas

2016 WPPI International Photography Awards in Las Vegas

*Ist Prize Fashion Category

*Grand Prize Portrait Category

*2nd Prize Fashion Category

*1st Prize beauty/boudoir Category

*3rd Prize Portrait Individual Category

*1st Prize fashion Category, creative division

*Grand Award Winner in the Creative Division •

2014 Canon AIPP Australian Portrait Photographer Finalist

•

Exhibition at Tusk Gallery in Chapel st South Yarra, art nude series titled Miss Duffy

•

2016 Epson Victorian Portrait Photographer Finalist

*2 Gold Awards

*1 Gold

*Silver Distinction

*Silver

*Silver •

2014 Epson AIPP Victorian Portrait Photographer

Canon AIPP Australia Fashion Photographer 2015

*5 Gold Awards

*2 Silver Distinctions

*Silver Award

*2 Silver Awards

•

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CLICK FOR MORE AMAZING SPEAKER IMAGES ON THE INFOCUS WEBSITE

INFOCUS INTERNATIONAL SPEAKER

James Simmons

PASSIONATE, CONNECTIVE, JOYFUL, ADVENTUROUS AND ROMANTIC. If you asked me to describe myself and what I do in five words. You know when you are just fully enthralled by something, not like a hobby or a pastime activity, like something you are obsessed with, that you can’t go a day without thinking about. Pure passion, I’m talking about wake up in the morning thinking about it and going to bed thinking about it. I might have a bit of an addictive personality and a competitive drive, but I’m a country boy at heart. On the surface nothing seems to phase me, but deep down I have a burning desire to create something that can make a difference. A humanist if you will, but one at a time starting with the people around me. If I can make a difference to people in some way, my rationale gives me purpose, direction and the confidence to exist in the foreground where anxiety wants to make me drift to the background.

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PROUDLY SPONSORED BY

I get a lot from photography, and connection is the major one. It’s my way of being able to connect with the world. The excitement that I get from producing images that people will be able to treasure for years to come almost outweighs the enjoyment from the technical and creative challenge it poses. But most of all, seeing people show their true selves to me in that moment of vulnerability is a real honour to witness as it takes a lot of trust, and knowing I can do that for people is very humbling I also love photojournalism. I love telling stories and that is what drew me to wedding photography. Growing up by the beaches of regional Western Australia, traveling around the world twice in search of perfect surf, snow and images, breaking both my arms, having worked in viticulture, stage production, hospitality and mining has all contributed to my love for adventure and love for being adventurous with my photography. Meeting new people has become part of my journey and is an adventure in itself, so I have the utmost respect for people, family and culture.

Images ÂŠ James Simmons PRO Report / Magazine of the NZIPP

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â&#x20AC;&#x153;

Images ÂŠ James Simmons

On the surface nothing seems to phase me, but deep down I have a burning desire to create something that can make a difference. A humanist if you will, but one at a time starting with the people around me.

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Images ÂŠ James Simmons

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NZIPP MEMBER NEWS

NZIPP on Facebook

click here to like the NZIPP public facebook page

If you’re an NZIPP member or interested in professional photography in New Zealand feel free to “like us”.

click here to check out infocus & the iris awards

The new Wellington harbourside venue Shed 6 is the amazing venue for this year’s Infocus and Iris events!

click here to get NZIPP membership information

Along with the opportunities and benefits that membership provides, you also benefit greatly from the professional development available throughout the year and also enjoy the many networking opportunities plus lifelong friendships. PRO Report / Magazine of the NZIPP

REGIONAL UPDATES

Auckland / Northland Region Words by Chris Traill FNZIPP

Last months meeting and photowalk was a great evening. Thank you so much to Michael Overend who took us through his own journey as a portrait photographer spanning many years and even being Director of Honours for NZIPP back in the day. Itâ&#x20AC;&#x2122;s always great to visit the studios of current successful photographers, doing great business still today, in this tough market. Michael talked of different styles and trends and his own inspirations and influences for how he has developed his own style. This evening was devoted to the study of portraiture as an art form. We finished his talk with a photo walk up a back alley nearby, which challenged us all with that unique twilight time between light and dark. Mel did an excellent job

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modelling for us with two different looks. With Gino providing some extra lighting and Michael and I doing a bit of guidance and tuition, I think everyone took something from it. Photo walks can certainly be a bit of fun and itâ&#x20AC;&#x2122;s always fascinating to see how different photographers will do completely different things in the same light and location. As they say...often the way a photographer shoots a portrait can tell more about the photographer, than the subject.

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REGIONAL UPDATES

Waikato / BOP Region Words by Kim Howells MNZIPP

The Waikato / BOP Region kicked off the year with a bang. In the last Pro Report, we farewelled Chair Mark McKeown and Secretary Suzanne Todd-McKeown. A new acting committee stepped up, with Sarah Beaufoy very capably at the helm. Nominations are being called for now in preparation for the April AGM, so ensure if you are interested or would like to nominate someone, these are submitted. Changes to our regional image judging were explained, and we now have the ‘NZIPP Waikato / BOP Creative Image Competition’. Following the meeting, Richard Linton was welcomed as our guest speaker for the evening. I am sure we could have talked with Richard all night, with endless pearls of wisdom and plenty of inspiration and motivation. Richard talked about pricing options for commercial photography, from head shots to single images and

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licencing. He also dispelled the myth around “I live in a small town and can’t charge as much”, explaining why that is not the case. Richard discussed giving clients the opportunity to pay more, instead of limiting your income, and talked about CODB, opportunity costs, and why it’s important to take the “intangible costs” into account. It was a timely reminder for some (myself included) that “if you are getting every job you are quoting, you’re too cheap”. Thank you so much for talking with us Richard. I know everyone who attended got a lot out of it, and we appreciate the time you took to come up. Thanks also to Team Waikato / BOP for stepping up and kicking things into action for the year. It’s sounding exciting with heaps ahead of us and some fab changes.

REGIONAL UPDATES

Otago / Southland Region Words by Nicola Wilhelmsen FNZIPP

Images © Jackie Ranken

We had a great little meeting on the 24th of this month at Dan Childs studio: 2twenty2 Photographic Studio which is attached to the Hilton Hotel in Queenstown.

Thank you so much for your work Rochelle I’m sure everyone has appreciated the effort you have put In for organising events in your area!

Such a lovely open space which is part of Kawarau village that is filled with top notch restaurants, bars and shops.

We now welcome Heidi Horton to the Otago Southland regional committee!

Dan has made this space available for exhibitions and workshops to our NZIPP members which is awesome!

It also wouldn’t be an NZIPP meeting with out a few images to share and critique! Gotta get those Iris entries sorted a bit earlier this year!

We had Ole Hansen from Canon come along and put a local face to the Canon name. He also handed out some Canon goodies.

Thank you to everyone that turned up I realise it’s a very busy time of year, especially for you wedding photographers!

It was our first official meeting for the year so we talked about some up and coming events and trying to get lots planned for the the year! We have had Rochelle Dillon resign from her role as regional committee member from Southland. PRO Report / Magazine of the NZIPP

REGIONAL UPDATES

Canterbury / Westland Region Words by Kate Christie

Phoenix or Dodo? The Future of Professional Photography Canterbury/Westland’s February meeting was a panel discussion on the future of professional photography. Richard Linton asked all the probing questions, and managed them to both flow on from the past ones as well as lead in new directions. He often looked at his papers, so I was determined to have a peak what was written at the end. We were lucky to have Steve Saporito over from Australia, and two Canterbury photographers, Katherine Williams and Kim Hamlin. They all had some great ideas and often advise for both new and established photographers, and everywhere in between. Some of Steve’s thoughts included: Understand what people value; Don’t “charge”, give first and then get rewards; Accept responsibility and

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apologise; People spend money to make themselves feel good; Intention is important; Clients borrow confidence from us; Little changes make a massive difference; and as an industry we believe we have to do everything, if you paid someone else to do something, and they did it at the level you do it, you would fire them... so fire yourself and get someone in who loves doing what you hate doing. Katherine’s included: The importance of confidence within; Pricing where you can make a good living; Learning not to judge what you think a client wants from you; Not systemising enough that you loose yourself; Making things stress free and easy for clients; Being prepared to invest in your business, lack of being prepared to invest can mean you are less invested in the business; and creative growth keeps your business alive.

And Kim’s thoughts included:

- Juliette Capaldi (newest committee member)

Having personal confidence in what you are producing; Supplying artworks (not a print!); Finding out what your clients are looking for in their heart, they are not looking for a picture on the wall; You are the sum of the 3 people you spend the most time with, so stop looking at other businesses that are failing, instead find someone with a great business; Not having time to think if I am good enough....having a rocket that drives you and a family to support.

I would like to welcome Juliette Capaldi to the committee. So happy to have you on board Jules, I know you are going to be a fabulous committee member with heaps of wonderful ideas for the region. Also, welcome to Ann Worthy-Stephenson for stepping up into the role as Regional Secretary. Ann has been an active committee member for the past year and a half, making sure we have a venue for each meeting/ workshop we run. And lastly thanks goes to Rebecca Watson who has recently stepped down from the Secretary which she has held for the past 2 years. Thanks for all your hard work Rebecca.

It was a really great discussion. Pizza was delivered by the newest committee member....yes you can easily fit 10 pizzas into a 1966 Fiat Bambina....thank you very much! And I had a sneak at “notes/questions” that Richard kept referring to....it was a blank piece of paper. He didn’t need notes....a great questioner!

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CLICK HERE TO READ THE ARTICLE ON STUFF

PROJECT UPDATES

Christchurch 5 Years on On Monday, February 22 — five years to the day since the devastating Christchurch earthquake hit — photographers, including both NZIPP and non-NZIPP photographers, gathered in Canterbury to document what the city is like today. If you haven’t already....click here to read the fantastic D-Photo article. A fantastic project organised by NZIPP’s Kim Hamblin, Accredited Professional Photographer.

Angela Jones, Accredited Professional Photographer Bryan Isbister, FNZIPP Jenna Young, ANZIPP Juliette Capaldi, ANZIPP Kim Hamblin, Accredited Professional Photographer Maria Buhrkuhl, ANZIPP Neil Williams, FNZIPP Paul Willyams, ANZIPP Richard Linton, Accredited Professional Photographer Shar Devine, MNZIPP Stewart Nimmo, MNZIPP Stephen Goodenough, FNZIPP Tony Stewart, FNZIPP

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MEMBER PROFILE

Tina McGregor ANZIPP www.tinamcgregorphotography.co.nz

First off, can you tell us about yourself and how you got started in photography? I’m a late starter, in terms of defining and establishing myself as a professional photographer…and have probably raised a few eyebrows as I do not fit the typical (whatever that is) profile. Having spent many years employed by Child Youth and Family, first as a Social Worker and then as a Family Group Conference Coordinator (both Youth Justice and Care and Protection), I chose to retire about 7 years ago from what was very difficult and demanding (but also rewarding) work. It was a major leap on lots of levels. I was thankful to have the support and encouragement of my husband as I left a career behind, regrouped, and changed direction. That one decision has been crucial and liberating in so many ways. I’lI so appreciate now, having the time and ability to create and contribute in a totally different way, on a totally different level. It certainly wasn’t easy initially, floundering around in the unfamiliar absence of financial security, structure, colleagues, being valued (and respected ?) because I had a vital and visible role in the community….etc. We live on a 10-acre property about 30KM from Te Anau, on the edge of the beautiful Red Tussock Conservation Area and while it was and is a joy and a privilege to live here, there are a few complications along with all the advantages. Isolation being the obvious one. And groaningly slow internet. As long as I can remember, a camera has pretty much always been within reach. Not just a shallow interest, but a core love which intensified once I was free to pursue it and it was able to find expression. Given our remoteness, then the way forward was to sign up with The Photography Institute as an online provider of a

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course via which to obtain a Diploma in Professional Photography. I did not know what I didn’t know, so it was good basic foundation, and I was able to get my head round some important technical stuff which was a necessary challenge. After completing that course I added a couple of advanced modules, portraiture and wedding photography. With an appetite for learning and a desire to get qualified, I attended a couple of weekend workshops in Queenstown with Mike Langford and Jackie Rankin. They encouraged me to attend the next Iris Awards (Auckland, 2013) and recommended that I become a member of NZIPP. I booked into a “shoebox” off Queen St, and stayed for the entire programme, all 3 days of judging and the Conference itself. Looking and learning, meeting a few like-mindeds. So absorbing, so worthwhile. Then there was the NZIPP/RSA WWII Veteran Portrait Project…dear to my heart already, as we own Fiordland Military Museum here on our property and regularly host veterans and their families. Loved being a part of this. 2014 was also the year that I got my Portrait Qs and entered the Iris Awards for the first time, with encouraging (and importantly to me - validating) results…included a couple of Silvers and a Silver with Distinction. Last year’s entries also did well and I was awarded the distinction of Associate. Then towards the end of 2015 I was advised that my “Transitions” landscape had been selected as part of the NZ team’s entry for the World Photographic Cup (18 images total, 6 categories…so that felt quite an honour). At this stage of my life I am happy to be a part-time photographer and am appreciative of the fact that I don’t have to be full-time and there isn’t pressure to

Image ÂŠ Tina McGregor

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pursue work…as I am finding that it comes to me. How would you describe your work to someone who has never seen it ? Hard to say, as I enjoy producing images in a range of categories. Awkward, this!!! But maybe - Honest, original, authentic, personal, engaging, memorable, sometimes surprising/quirky. Where do you get the inspiration for your work ? People - their stories, relationships, perspectives fascinate me. I love discovering uniqueness and love finding the richness value and beauty in “the least of these” sort of people. My faith, time of life, surroundings, adventures and an always-mulling-things-over mind. Being around caring people who are encouragers and use their time and talents to make a difference/improve things for others. If you had to choose one lens which one would it be and why ? Would probably have to say the Canon 70-200mm 2.8, a long-time favourite for portraits. However…also loving the 35mm Sigma Art lens for context and portraits. Natural light, studio light or both ? Do you have a preference ? Both, but my preference is definitely natural light. Here in Southland/Fiordland we have so many gorgeously textured uncluttered landscapes/backdrops, long softlylit summer evenings and dramatic seasons…each with their own splendours. Includes snow. And awesome skies. Never the same, never tire of it. If I do use studio light, it’s usually continuous. How important is Photoshop in your final images ? I’m not into major manipulations and rearrangements, although I would like to experiment and explore Photoshop more. Mainly use Lightroom, but do also dip in and out of PS. What type of session do you look forward to the most vs what type of session you most often do ? It is interesting how things somehow shift in our minds when we move from the “freedoms” of personal and/ or unpaid work (and the gifting of images), to the pressures associated with having to perform to others’ expectations and deliver that something extraordinary and distinctive that the client is paying for. So I love being able to go at my own pace…work on whatever

takes my fancy…produce whatever I do. Always quietly exciting. Towards the end of last year you went over to Brazil covering NZ’s involvement in the 1st World Indigenous Games. Can you share a few of these amazing images ? And tell us a bit about the experience/highlights ? Hard to choose stand-out images…there were so many memorable moments. Amazed to have been invited to go to Brazil (having been observed photographing a tangi a few weeks earlier).This was one totally awesome and history-making-experience. Such a once-in-a-lifetime privilege to be part of this all, as the photographer accompanying the 40-strong Aotearoa NZ Maori team, the youngest member being only 12 yrs old. So many fit and focussed young people who were there to serve and support, to compete, to showcase traditional games unique to Maori, to learn and to befriend. Our Maori team were greatly respected and adored…as kind friendly people as well as powerful athletes and performers and they were wholehearted in all that they took part in. Our women even won the tug-of-war over the champions (Brazil), having never competed in this event before. Although Indigenous Games had previously been held in Brazil, this was the first World Games. 2,000 indigenous athletes and delegations from 30 countries were involved over the course of 2 weeks. It was held in Palmas, inland Brazil…not a tourist destination. There were some competition sports, but also demonstrations of traditional games peculiar to different cultures, and the most wonderful celebration of difference and yet similarity. Scores of Volunteers assisting as interpreters and helpers on so many levels. Such a huge and wonderful undertaking. Massive advances in the understanding of each other’s cultures and marvellous expressions in costume and dance...but also an insight into the issues they were/are wrestling with The kitchen staff, the cleaners, the security staff, the organisers, the prepared and enthusiastic, the sand-filled stadium, markets, Wisdom Tent. A total feast of colour, culture commitment and service, and exchange. Impressive and humbling. Communal living, huge long days, sleep-deprivation, no downtime or privacy, toilet arrangements (bin provided), my husband and I being a conspicuous minority... there was nothing that was familiar to us. Heat. 35 - 45 degree heat. Amazing immersion experience. Huge respect and regard for all those involved and the way they conducted themselves. We are changed in ways we cannot describe. Visuals and experiences which will feed and adjust us for years and important new PRO Report / Magazine of the NZIPP

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Images ÂŠ Tina McGregor

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Work hard. Be brave. Be yourself.

Of all the images you’ve made so far in your career, which is your favourite and why ?

What is your favourite part of your job? And your least?

There are two, but one is excruciatingly personal (for the people involved) so not surfacing here. The other one is of a father and daughter in an extraordinarily beautiful bush-wrapped pool at the bottom of a waterfall in Brazil. I love it because I remember how I felt being there and what an almost sacred place it was. But also because this image is valued as a taonga (treasure). Here’s some feedback from the father - “The quiet unguarded moments you also captured are as priceless as our experiences and new friendships. I see so much in the expression of my Kotiro Billie here, it tugs at my heart strings, thank you sincerely for this memory.” Precious memories for me, too. A truly awesome place to be, with the people we were there with…beautiful light..all a little bit breathtaking and unforgettable. If you could go back and giver your young[er] photographer self some advice, what would it be ? Love what you do, do what you love. Find your own pulse. Back yourself.Trust your instincts. Believe you’ve got something worthwhile to grow/give/offer. Practice.

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Showing people their finished images and having them respond with delight tears and other heartfelts. Unsurprisingly, the least favourite parts are bookwork, pricing, sales and accounting. Can you tell me about your most memorable photo shoot ? Probably one of the WWII Veterans. The project prompted urgent attention to making dignified and respectful formal portraits of these men before we lost the opportunity to do so. As a member of the RSA, I already had a connection with Reg Small and knew something of the man himself. His portrait was made in Winton on Anzac Day. I later photographed Reg and his wife at their home and was able to gift those images to him. They were immensely grateful and deeply moved. Much was shared during subsequent visits. Suddenly, within a couple of months, he was gone…and it upset me (and still does) in a way that I do not really understand. Along with some other NZIPP photographers, no doubt. What we were able to do for these Veterans

Image © Tina McGregor and their families via this Project, has no measure. (Subsequently, we made it a priority to photograph several Malay and Korean Vets and their families here in Southland). What’s the most important thing you want potential clients to know about you ? That I’m friendly, approachable and won’t get them to do stuff that they’re uncomfortable about. That my involvement with them is not just a transaction, a business arrangement. Yes, technical skills and good gear are important, but the way we relate to people is at least equally important. I am a people person, genuinely interested in meeting them, knowing something of who they are and who and what they love, and making their photoshoot fun, relaxed and real. I want them to be at ease with me, enjoy the time we spend together and to totally love their images.

belonging to a Master Builder equivalent group perceived value and client confidence that a quality service will be provided. Committed to excellence, professional standards respected recognised and up held. What projects are you working on now ? Do you have any upcoming, exciting plans that you would like to share with us ? Lots forming, possibly including a book authored by the person who invited me to accompany them to Brazil/ document NZ’s involvement.

What would you say the main benefit of belonging to the NZIPP has been for you ? As mentioned in # 1 above - Networking, support available from all layers and levels, private Facebook forums online to discuss issues, prepare for qualifications and Iris, regional & national meetings, workshops, PRO Report / Magazine of the NZIPP

WHAT’S IN MY BAG

Myra Bayly www.lutecephotography.co.nz

Image © Myra Bayly I have a Nikon D7000 and a back up camera. My favourite lenses are a 50mm 1.8, 24-70 2.8 and a 80-200 2.8. The lens I use the most is the 24-70, it hardly ever comes off my camera. I love using this lens for portraits it is nice and sharp and allows me to zoom in without feeling I am in my clients face. I feel some photographers get hung up on having all the latest gear, the trick is to use what you have and use it well. One of my favourite photos is of my daughter and was taken with a kit lens, it is more about making the most of the gear you have. I have a speedlight and strobe which does not get much use as I mainly use natural light, I intend to do more with

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the strobe as I love the drama that can be created with lighting. Beside the lenses and camera, I pack spare batteries and cards, a sharp knife, tape, snacks and water. I have other goodies like plastic bags, mints and model release forms. There are a few more lenses I would love to add to my collection . So maybe a what’s on my wish list would be another thing to talk about here too! I am still deciding on a full frame I would love to take a D750 for a run that little beast has awesome noise recovery, great for birth photography which is something I have been dabbling in and would love to do more of. I have 2 bags and my favourite is a small Crumpler but I

Image ÂŠ Myra Bayly

can pack what I need in it for the work I do. One is a Tenba messenger type which is quite cool as it has a zip along the top I can use instead of ripping over the large front flap, it also has lots of pockets which can be really handy. I have some old cameras that I have collected, one is from my father n law who passed away a few years ago. He took his bellows camera all over the world and a favourite story he told me was while on their honeymoon in 1950â&#x20AC;&#x2122;s. He was left alone on a beach as they rowed his wife and 2 other travelers back to the ship they were on. The indigenous people were approaching him so he took photos of them, he ran out of film but pretended he was still taking photos to keep them at bay until help arrived.

It gives me quite a buzz to know the old camera has been much loved and well travelled. I intend to use his camera, what a fabulous treasure to own something with history like that. The only film camera I have used was in my prephotographer type days and was one that I took so many photos of my kids with. I sort of wish I had started photography earlier but now my kids are grown I have more time to dedicate to my business.

Images

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Image ÂŠ Myra Bayly

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Images ÂŠ Myra Bayly PRO Report / Magazine of the NZIPP

PHOTOGRAPHY COMPETITIONS AND EVENTS 2 - 24 June 2016.

http://www.photographyfestival.org.nz

A city-wide contemporary art and cultural event which takes place within Auckland’s major galleries, project spaces, non-gallery venues and public sites during June each year. The programme includes a mix of emerging and established artists and comprises existing works and creation of new work. The annual Festival is produced by the Auckland Festival of Photography Trust.

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