NZIPP PRO Report April 2017 by NZIPP NZ Institute of Professional Photography

PRO Report BE INSPIRED, BE SUCCESSFUL, BELONG

NZIPP MAGAZINE APRIL 2017

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:

info@nzipp.org.nz

Image © Karolina Stus

PRO Report / Magazine of the NZIPP

CONTENTS Executive Updates

Member Profile

Presidents Report

10 12

Honours Council Report Directors Report

Whatâ&#x20AC;&#x2122;s In My Bag...? 42

NZIPP News 05 Infocus 2017 14

Call for Entries

Accreditation Programme

Mature Cheese

Regional Updates 24

Auckland/Northland Region

Wellington Region

Canterbury/Westland Region

Waikato/Bay of Plenty

Karolina Stus

Juliette Capaldi

Events & Useful Links 50

Get Clicking

Regional and National Sponsors 51

Thanks to our Regional and National Sponsors

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Â© Lindsay Adler

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EXECUTIVE UPDATE

Presidents Report Katherine Williams FNZIPP IV – and AAIPP

What’s your favourite failure? This question stopped me in my tracks. I had to stop and distill just how important failure is to me. I’m a podcast addict, my phone is always loaded with podcasts of all types and my 45 minute drive to and from the studio is the perfect window to plug in and make the most of the sweet time I have all to myself. “What is your favourite failure?” was a question asked by Tim Ferris in the Tim Ferris Show episode “Uber Productivity and Dangerous Comedy”

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We’ve all heard the typical expressions of how failure makes you stronger which is true, if you choose resilience. But this an altered viewpoint, to value failure, to embrace failure and to choose favourite failures, that is pure brilliance to me. I think all too often we still think of failure and recovery from failure as getting knocked down and if we are strong we get back up again, which implies failure is an unfortunate set back, and a dent in our courage that we may harden us. This new angle of mindset tells me that if you can have a favourite failure that means the failures are essentially formative in your growth, and you simply would not have developed in the same way without them. You don’t have to harden in the process and harbor baggage from the journey.

Putting your voice out into the world can be challenging, but it is so rewarding to do so. - Katherine Williams

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In jotting a few of mine down from both business perspective and a creative development perspective I looked at the direction my failures took me down afterwards, all were positive and ultimately helped me even when it didn’t feel like that at the time. (All except a few overindulgent and totally unnecessary business purchases…. I doubt I’ll ever learn from those). I want to touch on a particular area of failure that has influenced and affected both my business and my journey in walking to where I currently am and towards the artist I still long to be. It is of course pertinent to the timing with just a couple of months left for those preparing or considering preparing entries for the upcoming Iris Awards. The self-development journey I have walked through entering the Iris Awards has been one of great significance to me, years of entering has guided me both to create work that satisfies my soul and to create work that aids my business success – sometimes the same thing and sometimes not. All too often people don’t talk about their failures and bury them deep as if we must be ashamed of our journey. But I’m not too proud to say I have had some magnificent ‘failures’ like the final score of 60 talked down from a 65 I received a few years back which belted my ‘ego’ sideways. And other failures; feedback and discussions that stung, scores that hurt, images that I perceived were ‘misunderstood’, and images that I had entered purely because I thought they would be well received by specific judges I imagined may be on the panel. Or the failures that resulted of a string of experimentations not executed with a refined idea or technical prowess. Amongst my failures I have also tried to create work with ideas that didn’t fully resonate with me and were born out of desire to only impress others. It didn’t serve me and 4 years ago I started to become myself.

Embracing my failures relative to the Iris Awards, on reflection it is hard to pick a favourite. All of those failures were an essential piece to my personal journey, This was the journey that I could celebrate at a pinnacle last year when awarded New Zealand Professional Photographer of the Year, an accolade I never even dared to dream off. While my many favourite failures hit hard at the time, they taught me to dare, to risk, to create the work I want to create, to put those prints in with love and acceptance that others may or may not interpret them as I did, but the honest exploration of myself is the only path I want to travel. Without my failures I believe last years success would have been quite different. Often I have conversations with photographers expressing the desire to enter in awards and they say they have some ideas, but they need to find the time to do them, but they don’t feel ready to execute the ideas, but they don’t know what category to enter, but they don’t think they are good enough, but they are scared. The stories we tell ourselves often are masks by the notion that we feel it is unacceptable to fail in front of our peers. I encourage you, if this is something you want to do then don’t be afraid to try for the chance of either success or failure as both will be beneficial if you if you allow it to be. Putting your voice out into the world can be challenging, but it is so rewarding to do so. As a community our photography is our collective expression of our voices and how we see the world. I can’t wait to see the walls of talent in Wellington; the beauty, the shocking, the intriguing, the bold, the quiet, the upsetting, the colourful, the graphic, the serene. The photography that challenges us and the photography that gives us peace and tranquility. Go create, excited to see what June brings!

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8 © Denis Smith

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9 Â© Denis Smith

EXECUTIVE UPDATE

Honours Council Report Kaye Davis, Honours Representative

Blair Quax, FNZIPP I, Accredited Professional Photographer Paul Daly, FNZIPP, Accredited Professional Photographer Shar Devine, MNZIPP, Accredited Professional Photographer Harry Janssen, FNZIPP IV, Accredited Professional Photographer

Last month we released the 2017 Iris Awards Call for Entries document. As always this has stirred a lot of interest, and dare I say anxiousness, for many would be entrants.

This Facebook group has been set up to support entrants; a forum to ask questions around the process and rules, get updates on the Iris Awards, or to seek feedback on potential entries.

Entering the Iris Awards is about being open and willing to take a journey of personal growth and professional development. Where you will most certainly gain new and improved photographic skills, alongside developing an insight into how to start looking at your images objectively and gain an understanding around what makes a good (or even great) image.

It is always a challenge to put yourself out there for critique by your peers, but in reality this is the most significant and important part of entering the awards, and the beginning of your growth. While we ask that potential 2017 judges (yes, the availability questionnaire has already gone out) refrain from participating in the forum, there are any number of experienced photographers who are members of the group and only too willing to provide valuable critique and feedback on your images. Their comments and feedback will lead you to start looking at your images differently.

While many entrants are very familiar with the process of entering, there are others who are entering for the first time. Whichever end of the spectrum you sit we encourage entrants to join the Iris Professional Photography Awards 2017 Facebook group.

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It is always a challenge to put yourself out there for critique by your peers, but in reality this is the most significant and important part of entering the awards... - Kaye Davis

The age old question in the group relates to “Is this image good enough to enter?”. So I thought this month I’d pose a few questions you can ask yourself when looking at your images, which are essentially what judges are looking for in an award image. 1. Does your image have visual or emotional IMPACT? The WOW factor is what grabs the judges attention, making them sit up and take notice. To determine the level of WOW, ask: Is the mage striking? Does it stay in your mind? Is it something you would hang on your wall and still love in years to come (it’s enduring quality)? 2.

Does the image create an EMOTIVE response?

Beyond the initial impact, an image that reaches its viewer at an emotional level will leave a lasting impression, whether it evokes a good (warm fuzzies) or bad (abhorrent, distasteful) emotional response. An image that raises more questions than it answers (as opposed to providing all the answers), can also keep the viewer engaged for longer. 3.

Does the image tell a STORY?

Are the combination of elements effective in communicating the narrative presented? Is the narrative subtle or obvious? An image that tells the whole story is not as strong as one that allows the viewer opportunity to consider what the story might be, or add their own interpretation.

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What level of INNOVATION or ORIGINALITY is represented in the image?

Perhaps one of the biggest challenges, innovation and originality is about delivering something that is unique, interesting and different to what has been done and seen before. It may be a new technique, a “old” subject presented in a new way. 5.

How effective is the COMPOSITION?

How well do each of the elements in the image relate to each other, through balance and contrast of colour, tone, scale, texture or perspective? Effective composition will bring a visual and aesthetic balance, where they are not competing for attention, and the sit in harmony. The considered design of an image can also be dynamic through the breaking of standard compositional rules. Use these questions as a way towards critiquing your own work, or the work of others. The more questions you ask the more you will learn from it. If you haven’t already, use this link to join the Iris Professional Photography Awards 2017 Facebook group to get the best out of your journey: https://www.facebook.com/groups/423536687669881/.

On behalf of the Honours Team - Blair Quax, Paul Daly, Harry Janssen and Shar Devine. Kaye Davis (Chair of the NZIPP Honours Council) GMNZIPP, MAIPP II, MCGD

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EXECUTIVE UPDATE

Directors Report Dino Demeer FNZIPP

Lately I’ve been seeing a lot of chatter and comments on Facebook and other social media platforms about companies coming in and taking over from what has traditionally been boutique type photography. By that I mean mass-produced high volume photography that was traditionally reserved for sole operators. An example of this is real estate photography, a few years ago I attended a workshop hosted by one of New Zealand’s leading photographers. This person who I won’t name went into a lot of detail about how he tackled his real estate photography, one of the things that really stood out to me was for million dollar homes he would take 2 or 3 days to photograph the house. Even going as far as to stay on the property just so he could get the right light to show the true value and worth of the house. The images that he produces are absolutely stunning and are worth every penny. Now on the flip side I have a couple of friends who photograph real estate on mass for companies here in Auckland, it’s not unusual for them to shoot 5 homes over 1 million in one day. In fact they can shoot up to 30 homes a week if not more. Now there are plenty of arguments that one is far superior than the other, however my point is that these two can both operate with equal success. Pretty much every industry has the same stories to tell, if you look at your own situation do you all your shopping at the local deli or do you go to the supermarket as well, do you buy all your clothes from your local boutique or do you occasionally visit a department store. Something you may like to do is look at small vs large businesses and see how they operate in different ways, the first thing you will notice is that small business rarely try to compete on price, they do it in other ways such as service and point of difference. Photography for me is my second career, before I was in this industry I was involved in construction design and sales. For me the same principles apply, there are 3 types of customer out there. High end, middle and budget. Sure some can be moved between any of the 3 but most will fit firmly into one of those spending categories. People also switch between these depending on what service or product they are buying. For example, some people may spend a lot of money on clothes but only buy store brand products from the supermarket. The other factor to take into account is to get a feel for how large these groups are from my experience the majority seem to fit into the middle and budget sectors (not just in photography but most industries). The high end is a very small slice of the market, otherwise we’d all be driving Ferrari and Rolls Royce cars.

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It is critical to understand this when running a business. Once you are clear on who your target market is concentrate on that, a budget client doesn’t care that you have huge overheads, or why you are so expensive. So don’t waste your time, fish in a pond that is your ideal client. Having a clear idea of who your ideal client will stop you from being all things for all people and give you a better pathway to creating a great business. There is one other factor to keep in mind “progress” time doesn’t stand still. Things change, technology changes people and jobs change. Something you are doing today might be done completely different in a couple of years time. This is a critical factor to keep in mind when running a photography business, running a business means you have to be thinking and planning all the time. Staying ahead and understanding the game is extremely important. Just look at the changes wedding photography has gone through in the last 25 years. Of course we may not like these changes, and in most cases there’s not much we can do about it. But seriously do you really want to continue with shot of the bride and groom in the wine glass! To finish of there will always be competition in business, there will always be someone cheaper and there will always be someone who seems to do well even though they don’t seem to be that good. My advise, concentrate on the client, it’s your ideal client that will guide you through the process and evolve your business. If you feel you do have to look at photographers, search out the successful ones.

ow N O rd er Pr e

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ONLINE REGISTRATIONS OPEN

1ST MAY www.infocus.org.nz

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COMPETE WITH THE BEST! 2017 Iris Awards Categories Open to all professional photographers worldwide! Commercial

Creative

Documentary

Illustrative

Landscape

Portrait Classic

Portrait Creative

Student

Travel

Wedding Classic

Wedding Creative

Nature & Wildlife

Plus the new BOOK CATEGORY sponsored by

Join us to view and listen to the live judging at:

Shed 6, Queens Wharf, Wellington Waterfront, Wellington. PRO Report / Magazine of the NZIPP 15 Thursday 15 June to Saturday 17 June 2017

NZIPP ACCREDITATION

Accreditation Programme Sarah Beaufoy MNZIPP, Mel Waite FNZIPP & Shar Devine MNZIPP Accreditation Coordinators

ACCREDITATION

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We are very passionate about NZIPP and adhering to the professional standards of the organisation and industry as a whole. It is important for you to become Accredited, which is a recognisable professional business standard and is valuable for your ongoing growth as a professional photographer and NZIPP member.

Our next Accreditation round is 3 May 2017 and will be limited to 10 submissions, including re-submissions. The next round will be announced open in April with links to the online Accreditation Assessment Application Form and 2017 Accreditation Submission Guidelines. As a guide we would expect that members have a vast portfolio to select from when submitting. You would consider getting assessed for the accreditation category after completing at least; 30 weddings OR 45 portraits shoots OR 45 commercial shoots as the lead photographer. For any questions please contact your Accreditation Advisor or Accreditation Team.

PRE-ACCREDITATION CHECK

If you are a new or provisional member you need make yourselves known to your Regional Chairperson who will put you in touch with an Accreditation Advisor. This enables them to view your work and guide as to when you should be submitting to be assessed.

ACCREDITATION DATES May, August and November 2017.

For any questions please email nzipp.accreditation@ gmail.com

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The strongest path to assured success, is together

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Harry Janssen - Seminar https://www.eventfinda.co.nz/search?q=Janssen

When: Wed 26 Apr 2017, 5:30pm–9:00pm Thu 27 Apr 2017, 5:30pm–9:00pm Where: Nomadic Planet, Unit 6, 31 Tyne Street, Addington, Christchurch (26 April) Kelk Photography, 85 Great King Street, Dunedin, Otago (27 April) Restrictions: All Ages Ticket Information: Earlybird Admission: $65.00 Earlybird Admission - NZIPP Members: $32.50 General Admission: $95.00 Available 21 Apr, 12:00am General Admission - NZIPP Members: $47.50 Available 21 Apr, 12:00am

Harry spent his first 26 years in the Netherlands. He began his career there, shooting studio and location work, developing and printing in the darkroom, selling equipment and teaching workshops. In 1982 he emigrated to New Zealand because “it seemed like a good idea at the time” and continued in the photographic industry working for various labs and studios. Official recognition has endorsed his abilities many times over; Harry has a substantial portfolio of award-winning photography, having scooped up Gold, Silver and Bronze Awards from the NZIPP Iris Awards. He has also been sought after as a Judge for this prestigious event. Harry’s advanced equipment and knowledge enables him to shoot Commercial, Creative/Fine Art and Individual Photography that is of the highest calibre.

Topics of this “The Creative Way” seminar may include: - A bit of history, of how things used to be. - My day to day work (a brief run-through with slideshow). - Inspiration (with slideshow). - Camera gear and shooting tips. - The Creative Process Workflow. - Lightroom and Photoshop. - A few Plug-ins. - The NZIPP Iris Awards (why I do this). - Question / discussion time.

‘A Creative with a difference,’ Harry takes pride in ensuring his Photography work tells a story that is enhanced by his technical expertise and a talent for seeing, second to none.

- Harry Janssen Photography and Design.

“Why do I work with images? For me, it is a way to express myself. To capture the essence of vision is to storyboard the beauty in life...to capture what I saw and express the way either I or others may see it so that the image has a life of its own. For me, this way of seeing, being able to capture the essence of a vision my client or I have, is something I just love to do”.

- NZIPP Illustrative Photographer Of The Year.

- NZIPP Master / Fellow Of Photography V. - NZIPP Honours Council Member. - NZIPP New Zealand Photographer Of The Year – Finalist. - NZIPP Landscape Category – Finalist. - NZIPP Auckland Photographer Of The Year. - Adobe Certified Lightroom Expert. Email - harry@harryjanssen.nz

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SPECIAL UPDATE

Mature Cheese Mike Langford G.M.NZIPP, H.F.NZIPP, G.M.AIPP, F.AIPP www.mikelangford.co.nz

This column is dedicated to those who are the building blocks of the NZIPP and who are a part of its history. Through understanding what happened in the institute before many of us were born, is to have a greater understanding of the value it offers us today. Hugh Perry is one of the few links we have to the birth of the NZIPP, as his father, who was also a photographer, was there when the Institute was first formed as well as one of its first Presidents. Hugh joined the institute in 1965 aged twenty-one, when he started his photographic career in partnership with the late James White in Wanganui. “It seemed that everyone who was a full time Professional Photographer in the region was a member of the Institute at that time and if you didn’t turn up at a meeting then they would all talk about you – so you always made sure you were there at every meeting”, reported Hugh.

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Initially Hugh and James offered classic portraiture as well as classic wedding photography. “Early in my career, except for candid photography, we mostly used 4x5 cameras and black and white film in the studio. That was the fashion back then and the use of a large format sheet film reduced the grain in the final prints”. “My father had used electronic flash in the studio and even used an arc light to project various shapes such as cut outs of church windows on the background. The arc lamp gave a sharp edge to the shapes. However, by the time I started work, I found that incandescent lighting gave a more flattering result in portrait photography”. “With the development of smaller more portable cameras such as the Hasselblad, electronic lights and colour film, (which was very expensive), we then started to move away from the studio and started shooting weddings and portraits outside – this was a very new style at the time. I was never very excited about photographing weddings even though this was the biggest part of the business. My passion was portraiture!”

Over the years, Hugh has served as Education Chair, Honors Chair, Portrait Chair, President and Executive director. “I think the only roll I didn’t have was Commercial Chair” Hugh pointed out. When asked why he had taken on all these rolls over all those years, Hugh replied, ”I always felt that the Institute was important in giving collegiality and support to photographers who were isolated in small businesses. Furthermore, before polytechnics offered photography courses, photographers were largely self-taught and the Institute played an important role in continuing education. I also felt we all should take our tern in leadership rolls, as we all had a passion for the industry”.

In 1998 Hugh felt he had given all he had to give to the industry but with the passion for people that drove his portrait work, he studied for a theology degree and became a Presbyterian Minister. In 2013, as part of the commemoration of the 75th anniversary of the Institute, Hugh wrote the definitive history of The New Zealand Institute of Professional Photography so we will now always have a reference to it. Thank you, Hugh, from all of us!

When asked what he would change if he was starting out in photography again now – he replied: “I would go to a tertiary institute and get an education in design!”

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A 24-70mm F2.8 DG HSM Art Available in Black. Large case and hood included.

09 276 3271 CRK Ltd sales@crknz.co.nz 3 Hotunui Drive, www.crknz.co.nz Mt Wellington, Auckland PRO Report / Magazine of the NZIPP 23

REGIONAL UPDATES

Auckland / Northland Region Words by Chris Traill FNZIPP

Our March meeting was a Pecha Kucha styled evening, but instead of 20 speakers we had 10 invited photographers talk for 10 minutes on 10 different images. It was a completely open brief for them to show what ever images they wished and talk about whatever they wanted. The range of different photographers from so many genres is what made this event so unique and random. A very personal insight into each one of them and their work across a broad spectrum. The photographers in the line up was Chris Traill , John McCallum, Emma McDonald, Keri-Anne Dilworth, Chris Pegman, Troy Goodall, Penny Aspin, Angela Jury, Blair Quax and Robin Smith. The evening was hosted by Robin Smith, who is an established Auckland commercial photographer and AIPA member, at his Smith Studios near Eden Park. It was fantastic to see the commercial site he operates from and rents out to photographers requiring studio space. I highly recommend this very relaxed creative environment. We threw Robin in the line up as well and it was inspiring to see his highly stylised portraiture and learn of his passion for building unique studio sets/props. Thanks Robin, Maegan and their dog (Chopstick) for having us at your pad.

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Our time keeper and image control person on the night was Sean Dick. Thanks Sean for keeping us all on time. Although I’m sure you cut me short a few times. Thanks also Ilan Wittenberg for taking a few snaps. Well done to all the photographers, who on the most part were extremely nervous and not used to public speaking. Sharing your souls is not easy. What a cool bunch of creative people you are and all successful in your own right. A special thank you to Chris Pegman, photographer from Keri Keri (4 hours north of Auckland) who accepted the challenge (with honour) to be one of the presenters. Chris did particularly well last year at Iris with his stunning landscapes and astro nightscapes. It’s always great seeing northlanders come down to the meetings in Auckland. Hope to see more of you and maybe we’ll do a night shooting workshop with Chris up your way sometime through the year. Thanks to all that came along on the night. A few non NZIPP members enjoyed this evening and it was great to hear someone say that “we were a very friendly lot”. So keep on coming. Our next meeting will be April 19, photo critiquing/ mock judging with Iris Awards around the corner.

REGIONAL UPDATES

Wellington Region

Words by Catherine Cattanach FNZIPP II

Jeff Brass says he wouldn’t have the patience to do the kind of photography his wife Carolyn Robertson does. She’s a talented food photographer, and the job involves a lot of pernickety arranging with tweezers (apparently even bread crumbs have a best side who knew?!). But then, this is coming from a man who manually stitched together hundreds and hundreds of photos of the upturned spectator seats at Eden Park, and then just couldn’t sleep if he didn’t clone all the chewing gum off the undersides. And you know what rugby fans are like - that’s a lot of gum. So I don’t believe him for a second. Jeff and Carolyn (who together are Think Photography) are both very driven, perfectionist photographers and their high standards are certainly reflected in their work. Carolyn unfortunately had something come up at the last minute and couldn’t make it along to our February meeting, but Jeff presented on her behalf and did a sterling job. Carolyn shoots for all forms of advertising, packaging, books and magazines. I think one of her clients put it really well, when he said that her images convey a strong emotive message rather than being ‘just another product shot’. I loved how despite all that planning and what she calls “food fussiness”, Carolyn remains open to the element of chance - Jeff showed us a couple of Carolyn’s food photos that a black cat had photobombed to fantastic effect. One time they had a huge meat delivery for a weeklong shoot (a much bigger delivery than they expected - they had to frantically search for freezers to store it in), and they took apart the pallet it came in and whitewashed the boards - voila, instant “table” for a background. Carolyn also sometimes uses textured wallpaper as backgrounds - you don’t need much so you can often just buy cheap sample pieces.

Jeff is an architectural and commercial photographer, who has also branched into video work, again with the same passion and eye for quality. Jeff’s work has appeared in advertising, magazines, websites, annual reports and billboards for the last 10 years, and prior to that he worked with some of New Zealand and the world’s top picture agencies. He showed us an enormous breadth of work and had some great stories to tell. One of the questions that came up, as it often does, is how you price for commercial jobs. It’s a tricky one and sometimes you win, sometimes the client wins. Jeff and Carolyn price for the job, and that price is the same whether the client is Visa or the local baker. Jeff stressed the importance of looking after your clients; for Think Photography, it’s important that everything is costed out from the start so there are no surprises for the client. Sometimes if you haven’t got your costs right and you have to come back to them for more money, that puts the person you’re dealing with in a tricky situation where they have to go back to their superiors. You make them look bad, and they remember that. One time Jeff quoted for a shoot for some 12m long panoramas for BECA, and didn’t get the job. They went to someone who had an 18MP Canon 1DX, took one shot of the intricate pipework at the Lion Brewery, cropped it and gave it to the client. Unsurprisingly that wasn’t good enough, so they came back to Jeff, who put together a proposal of how he planned to shoot it and then had to present this proposal to a room of 15 people. Because of a wall directly behind him, it was very hard to get a good angle for shooting all the pipework. Jeff took 400 frames and stitched them together manually. Then after 18 hours of work, he found that the saved file wouldn’t open, and he had to start again! The Eden Park seats was another 12m panorama, and despite all that meticulous cloning out of chewing gum, that shot didn’t get used in the end. As Jeff says, you win some, you lose some. © Chris Hill

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REGIONAL UPDATES

Canterbury / Westland Region Words by Juliette Capaldi

“Try creating and let your brain go, then you start to see stuff. Then apply analytical thinking”. So when Kate mentioned that we were going to have Gnomologist coming to present....I thought...wow... should be interesting... Henry Sutherland came to present to our Canterbury/ Westland meeting on creative thinking. “Creative thinking is thinking new solutions to old problems. The skills are transferable, to all works of life and industries”. Henry spends his time (among other things) sending gnomes all over the world, North Pole, South Pole, Mt Everest, Mt Kilimanjaro and many more impressive sites. He has one gnome with signatures of many famous and respected people, including the Dali Lama and Richie McCaw. He really wants the Popes signature on there, but has found that a challenge so far....So if anyone has a contact to the Pope, please get in touch! But what is it about the gnomes? Well, it is his way of standing out, using the media rather than galleys to put the message out there. And his message...Well GNOME stands for “Guarding Naturally Over Mother Earth”. He is on a mission to help people become more aware of the environment, and how we need to be changing to look after it, not damaging it further.

Here in Christchurch, we put flowers in cones to remember the February 22nd 2011 earthquake, that took lives and changed the life of many people in Christchurch. I only have just found out how that started. Henry came up with the idea to get the people of Christchurch to put flowers in the many cones that were covering out city, on the one year anniversary of February 22nd. He created a cartoon suggesting the placing of flowers in cones, and put it on Facebook. What resulted was our city covered in flowers sticking out of bright orange cones, then is spread around the country, Wellington, Auckland, and then went to the world. People in places like Scott Base, Japan and London were putting flowers in cones to remember the loss that February 22nd is for Christchurch. So it was an idea that started with one fairly unknown person, and went to the world. Henry’s suggestion: Put yourself out there so something will happen! So we learnt about the travels on gnomes about the world, but more importantly we were inspired to think outside the norm. He finished on a Eleanor Roosevelt quote: Great minds discuss ideas Average minds discus events Small minds discuss people So I took from the evening: Go out there and discuss some ideas, and give it a go! Before our meeting we meet and enjoyed pizza’s at Winnie Bagoes. Always a great spot for eating and chatting here in Christchurch, and we were also joined by Ola and Genevieve from Canon...Genevieve was visiting from Auckland. I only heard one tricky question asked of her, but there were bound to be more! It was great see you both, and it was an enjoyable and inspiring evening.

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REGIONAL UPDATES

Waikato / BOP Region Words by Jacki Key

Waikato / BOP had a double treat this month! Wayne Taite was kind enough to have us at his upgraded studio and what a great space he has created right in the midst of the Portside Industrial area where it’s all happening. Thanks Wayne for your hospitality. In that great studio space we listened to an inspiring talk from NZNIPP’s very own Kaye Davis. We heard an outline of Kayes history and how she came to where she is now. Kaye was incredibly generous with information sharing verging on tutoring for us all. We got an inside look at how her best award images were built, what judges look for, and some sound advice on awards approach, papers, printing, mounting and so on. I admire photographers who are comfortable enough in their own skin to encourage and tutor others. A big fat thanks Kaye - you rock!

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I’m not sure where that yummy pizza came from, but thanks Alana and Sarah - you always come up with decent food and ensure meetings and events run smoothly. I think Alana may have a secret talent for finding good pizza. Lastly thanks to all those who made the effort to attend. I can’t stress how much you gain from catching up with your fellow photographers, bouncing ideas around, and getting great information in the industry from our speakers. See you next month!

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MEMBER PROFILE

Karolina Stus

Accredited Photographer www.karolinastusphotography.com

In this day and age, time is an invaluable commodity so I thank you all in advance for taking the time out of your hectic schedules to get to know a little about me and maybe even learn a bit about, and for you. I’m Karolina - a life-loving Polish lady living in New Zealand. I grew up in a country which was fighting with communism, therefore we didn’t have many toys to play with, but we had a great time playing outside with our friends. Our days were filled with building go-carts and tree houses, being constantly covered in dirt, but most importantly, finding our own happiness. We created memories that I cherish and that have warmed me over the years. I believe that all the experiences from my one of a kind childhood built the foundations for my soul, and how I look at the world today. My passion for photography has evolved from humble beginnings but really took on a life of its own when my gorgeous family arrived on New Zealand soil in 2012, the start of our great adventure, and with that comes the inevitable challenges. One of which was finding out that our older son has an autism spectrum disorder. He understands the world easier through images (words and language is something abstract to him). We found using visuals was the most effective way to connect with him, so photography became our means of communication and since then I’ve totally fallen in love with it.

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When I arrived in Kapiti, I was new here so I didn’t know many people, which lead to me having to use myself as a model most of the time. That is how my portrait photography journey began. I planned my day rigorously in order to fit in, and shoot my ideas whilst my two boys were napping. Quite often I was running through my house with flower petals glued to my body, or wore strange clothes and full makeup because some photo idea had invaded and taken over my mind. I was hoping no one would knock on my door during these euphoric episodes of creativity. I loved it, and pushed hard with my passion. I love all that is old and different so I could call my style vintage I think. The driving force behind all my shoots is always emotions. I like to be on the same page with my clients, get into their shoes, to be able to show truly who they are. I love people, people fascinate me, their faces, wow, their faces tell so many amazing stories, that is part of why I enjoy being a portrait photographer. I also try to deliver more than what is expected, something that will evoke strong feelings from whomever looks upon my images, with the main goal being my client’s happiness and having them leave my studio doors with tears of bliss kissing their cheeks.

I enjoy being surround by others, people are the most important part of my success. Making connections, supporting my local community, and my children’s school gives me the best advertising – “word of mouth”. I was given the chance to do my boy’s school photo’s last year. I really enjoyed creating the children’s portraits; I was able to give them the opportunity to express themselves and let shine their amazing personalities. It is such a great feeling when children from school wave, smile, or run to hug me. It makes me feel as though I have done something meaningful (for them) and helped to support the school as well. I think being part of your community is very important for your career as well as for your soul, it will give you the strength and confidence to achieve your goals. Last year I achieved several of my own goals, I joined the New Zealand Institute of Professional Photography and I (with nervous excitement) submitted three of my images to the New Zealand Iris Awards. Much to my delight, I received Gold with Distinction, Silver with Distinction, and Bronze. My brand and self within the world of photography had entered a new dimension. I’m definitely going to enter my work again this year. If I could manage to win a category, it would be a HUGE tick off my bucket list, just winning a gold, silver, and a bronze made me feel like a rock star! I won! Somehow, amongst the craziness, I managed to make some amazing photography friends. I believe that forming these relationships with other creative thinkers is very important. Make sure you surround yourself with other photographers. Their experience can teach you a lot, they can challenge you and give you some pretty incredible inspiration. With others of our kind surrounding you, you won’t feel alone, you will try new things and you get to see how other photographer’s work.

My most memorable piece of work is my Iris Gold distinction image. I made that image not long after my Dad passed away. It was a very windy day and I couldn’t stay at home. I took my camera with me, my ladder, a couple of long pieces of fabric and I went to the beach. It is my selfportrait. It all came from my heart and my soul. I don’t use fancy equipment. I use Canon 6D camera and 50mm and 85mm lens most of the time. I like to go a bit crazy and play with old lenses too. I really like to use an old Russian Helios 44-2 58mm, but for that shoot I used 24-70mm lens and natural light only. It was a healing experience, not a very safe one because the wind kept blowing me away from my ladder but it was all worth it. I’m glad I live in New Zealand because my life has changed so much for the better here...and I’m HAPPY!!!! I look forward to sharing more of my work with you all, and wish you all the happiness, love, and success you deserve.

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being part of your community is very important for your career as well as for your soul, it will give you the strength and confidence to achieve your goals. - Karolina Stus

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WHAT’S IN MY BAG

Juliette Capaldi

Accredited Photographer www.ettaimages.co.nz

What’s in my bag? Not a lot of gear at all really. Now I could blame my lack of gear on my very cute, baby blue 1966 Fiat Bambina (Fiat 500), as you can not fit a lot in a Bambina. But actually, I am totally a believer that I don’t need much gear. I use a Canon 6D, and I love my Canon 50mm 1.4, which pretty much lives on my camera. I have a Sigma 35mm 1.4 Art lens, which occasionally comes out, mostly when 5 or more people are tying to fit into my very small studio! (Small car....Small studio...its sounding like a strange trend ?!?!). Reflectors are never far from me, and usually a tripod, except when there are young children around. My important piece of kit are my polyboards. I own a fair few 2.4m by 1.2m boards of poly, and I have painted them up. White, black and a darkish grey are my favourite colours. I have cut some in half lengthwise, so I can fit them in the back of my car (no, not the Bambina...you have to be kidding!! I do own a practical car too, where the seats fold down and can fit in a 2.4 x 0.6m board in), and I can take these anywhere to set up a simple natural light studio. All I need is a window, and then I can create consistent business portraits in peoples offices, using the white for backdrops (two side by side and I edit out the join) and some black on the side when more shadow is needed.

My other gear that I would really rate is the car. Its a bit different, and I get so many people coming up to talk to me about it, that I think its a really valuable marketing tool. Children love it, and point it out to their parents. School mums come up to me and say “I just love your car” or “My son/daughter just loves your car”, and it starts a conversation about what I do. I have people getting in touch with “I saw you cute car zipping along the other day, and it reminded me to get in touch about updating our business portraits” (Though me zipping in a Bambina seemed a bit far fetched!!). If I am having a bad day, I just need to take the Bambina out to get a whole lot of smiles from other drivers. And I find the best parks! © Michael Watson

For me, my images are all about the expression. For business portraits its about creating a connection between the subject and the viewer (ie their client or potential client), and so I have to keep my head out from behind my camera to create a rapport with my client, often with very limited time. I want eye contact, interested body language and a genuine smile. For family portraits, its connection again, but between the members of the family. I am getting the cuddles, the laughs and the special bonds that exist in families. My favourite images are the ones where the family is cuddling and laughing, enjoying the experience, and momentarily forgetting that I am even there. So, pretty much a minimalist on the gear front!

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