NZ CameraTalk To p r o m o t e t h e w i d e r e n j o y m e n t o f p h o t o g r a p h y
T H E O F F I C I A L M A G A Z I N E O F T H E P H OT O G R A P H I C S O C I E T Y O F N E W Z E A L A N D I N C
April /May 2019
In this issue PRESIDENT Moira Blincoe LPSNZ t. 09 379 7021 e: president@photography.org.nz
VICE-PRESIDENT
Karen Lawton t. 021 143 7764 e. vicepresident@photography.org.nz
TREASURER David Knightley PO Box 99470, Newmarket, Auckland 1149 e. treasurer@photography.org.nz
SECRETARY Patrice Nilsen 8 Raroa Terrace, Tawa, Wellington 5028 t. 04 232 1565 e. secretary@photography.org.nz
EDITOR, ADVERTISING & LAYOUT
WELCOME TO THE second edition of CameraTalk for 2019. April marks the most important month in the PSNZ calendar with the National Convention and the PSNZ Canon National Exhibition being held in Lower Hutt. In this issue, in addition to our normal features, we have a special section on street photography. We highlight the top clubs in the four interclub competitions, we learn about changes on the Honours Board, and we show you the top images from the secondary schools photographic competition that is supported by PSNZ. April is also a crazy month with both Easter and Anzac day following each other not to mention the school holidays. If you are travelling over these periods then please be careful out there.
Paul Whitham LPSNZ Editor
Paul Whitham LPSNZ PSNZ Councillor t. 04 973 3015 or m. 021 644 418 e. paul@pwfotos.com
SUBEDITOR Lindsay Stockbridge LPSNZ 14 Poynter Place, Whanganui 4501 t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz
CAMERATALK DEADLINE
The next CameraTalk deadline is 1 June 2019 Email your contributions to the SubEditor at his email address. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned. The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ.
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On the cover Reality and fiction by Mary Livingston LPSNZ.
Obituary: Jean Bygate Editorial
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PSNZ workshop series
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Canon Online results
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Street photography special feature
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Southern regional salon
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Hutt2019 update Moving on from the Honours Board Audio-visual notes KCC 50 years of photography
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Judge training
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Salon updates
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PSNZ Interclubs
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NZSSPC: Year two
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North Shore Salon
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Key dates for the diary
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IN THREE SHORT weeks many of us will be gathering in Lower Hutt to attend the 67th annual PSNZ national convention ‘Focus on Learning’. Two years ago when the Lower Hutt Camera Club committed to hosting this year’s event, 2019 seemed so far away. In the ensuing years the organising committee has worked incredibly hard and remained committed to their vision of bringing you a convention with a real emphasis on practical learning and enhancing our skills, from some of the country’s most talented specialist photographers. I’m very excited about attending the convention. It is being held in a state-of-theart architecturally designed convention centre that will accommodate our needs for break out rooms, plenary sessions, a trades hall and exhibition space, perfectly. The programme is set, the stage is ready, our trade partners are eager – bring on 26 April – I’ll see you there! It is also hard to believe I have almost completed 12 months as President. Some days I feel as if I have not achieved much, such is the quagmire of emails, phone calls, fighting the odd fire. In reality I have learned a lot in these 12 months and on reflection there have been a number of significant items achieved. I am ably supported by a well oiled team of Council members and I thank them for their hard work and ongoing support.
From the President’s desk... During the national convention, we will host our Annual General Meeting on Sunday, 28 April and if you are attending the convention I encourage you to attend this meeting. Historically, attendance by members has not been that great, yet this is the time for members to be able to put their thoughts forward to Council. The most important item on the agenda is the recommended adoption of the revised Constitution. Hundreds of hours have been given by many people into reshaping this document, so your support and commitment to completing the process is much needed and appreciated. It is always time to enjoy the success of many of our fellow members and peers by celebrating the successful authors who achieved their respective honours award at the CR Kennedy Honours Banquet. (continued overleaf)
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And it is always rewarding to view the collection of successful images selected to form the PSNZ Canon National Exhibition. Congratulations to all the successful authors - and I can’t emphasise enough how worthy it is to even have one image accepted, let alone an honours ribbon or medal and trophy. The standard of photography continues to increase year by year, making it an even tougher task for the selectors. Finally, thank you again to all the volunteers who have contributed any amount of time during the past 12 months to help make the Society function smoothly. Without your commitment we would not be able to deliver the level of services provided. Remember, my virtual door is always open – until then, I’ll see you at Hutt2019.
Kind regards Moira Blincoe LPSNZ President
Obituary: Jean Bygate HonPSNZ by Roger Brownsey HonPSNZ FPSNZ
Jean Bygate passed away on 17 March 2019. She was PSNZ President for two terms from 1986 to 1988. She was awarded HonPSNZ in 1998. Jean was a very able administrator and was a key member of the Taupo based Light Photography Group which conducted mid-winter weekend photographic workshops from 1982 to 2003. Jean made black & white prints in her darkroom and then moved to audiovisual presentations from the late 1980s. Those who knew her have lost a friend. We will miss her infectious good humour and her willingness to help others make progress in photography.
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Editorial : Should you take the shot By Paul Whitham LPSNZ
A number of years ago my wife and I took a road trip all the way up to Cape Reinga and spent a number of days in Northland. Among other things, I like to photograph old broken down buildings. Based on all the stories I had read about Northland, being a depressed part of the country, I was sure that I would find many of them. The reality was that I saw very few buildings along the way and in fact on the way home going through Taranaki, supposedly a much wealthier area than Northland, we saw lots of old buildings. I decided not to photograph the buildings that I did find because I thought that in doing so I would misrepresent the true nature of the area.
the family had been living in the relative safety of a Pakistani camp for more than two years. The look had more to do with the breach of the girl’s customs. She was in an all girls classroom when Steve picked her out, because of her eye colour, and despite the fact that her culture was not to appear in public without a full face covering, she was
We are bombarded by photos every day, but when a single photo, or a collection of them, exists in isolation it is very easy for the true situation to be distorted. Therefore, does the photographer have an obligation to ensure that it represents the area, or is anything up for grabs? There has been a flurry of activity recently about Steve McCurry’s most famous image of the Afghan girl. This is one of the most iconic images of the 20th century and was certainly the image that launched his career. It is a fantastic image that any portrait photographer would love to capture. When it appeared in National Geographic, the caption said that it was the look of despair due to years of war. It has been claimed, now, that nothing is further from the truth. While she was a refugee from Afghanistan, the war the family had fled from was long ago for this girl, as 5
photographed. The look on the face is not one of despair, it is one of fear of the photographer and the situation she was put in. Now many of us may think that we will never be in a situation where we are faced with a dilemma of whether is it appropriate to take an image or not. I would suggest that this is not so remote. If you live in a major city, you see people begging every day. In many cases their hard living is etched in their faces, and quite frankly they would make brilliant photographic subjects. I have judged photo competitions where I have seen such images, and they can be very powerful. But is it right to take their images, often without permission, simply to use them for your own hobby? Personally, I think not.
Workshop registrations are pouring in! James Gibson APSNZ, Councillor for membership, reports
I’M REALLY EXCITED to see the registrations coming in for the Workshop Series – Bruce Girdwood’s workshop has filled, and we’ve organised an additional boat for the Okarito Tour on Sunday morning as so many people are keen to experience the magic of Okarito. There are plenty of spaces remaining on the other workshops and we are keen to give as many PSNZ members as possible the opportunity to learn from experienced tutors and come away from a fun day with new skills and great memories! • Improve your photoshop skills and techniques with Helen McLeod FPSNZ in Blenheim – a fun and hands-on day, making images with your camera and the computer (15 June). • Experience and capture the night skies above Taranaki with Leith Robertson (6-7 July). • Learn creative lighting techniques in a studio environment with Scott Fowler FPSNZ in Ashburton (10 August). • Make your images stand out, learning the techniques to create stunning fine art prints of your own images with Shona Jaray APSNZ in Kerikeri (14 September). A few members have put their hands up to offer their help with the workshops next year and I’m very grateful to you all. Over the coming months we will be planning the 2020 series, based on your comments and feedback from this year’s events. With all things, the more you put in the more you’ll get out - so get involved: sign up for a workshop, enter a competition, help out at your club or with PSNZ, but most of all, have fun learning! 6
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PSNZ Canon Online Results from Round 1, 2019 OUR JUDGE FOR this round was Neil Gordon APSNZ. Though he retired from MetService in 2011, he remains passionate about meteorology. His images often feature the sky and clouds, including his 2015 “Painted Skies” APSNZ set. Having won the Laurie Thomas Landscape Salon in 2013 with one of his first photos on a new Fujifilm X-E1, he migrated from a Canon DSLR to Fuji mirrorless and currently enjoys using an X-T2. (Not that it’s about the gear.) Neil is a past president of the Kapiti Coast Photographic Society, and a former PSNZ Councillor. Entries for the next round of the 2019 Canon Online competition close on 25 April. Entrants must be financial PSNZ members. Images must be uploaded via the PSNZ website and sized 1620px wide x 1080px high maximum dimensions. James Gibson APSNZ EFIAP PSNZ Canon Online Coordinator
Comments from the judge: Neil Gordon APSNZ This is the first time I’ve had the privilege of judging Canon Online. While enjoyable, it was quite a challenge to choose the top ten, let alone rank them. There was a huge variety of genres and styles in the 115 entries. I found it relatively easy to choose my top twenty or so, but a lot harder to narrow it down after that. I sought images that had an enduring engagement for me, well beyond their initial impact. Congratulations to the winners for their success, and thanks to all for entering.
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1st Flamingo by Lynn Fothergill LPSNZ What beautiful textures and soft colours, with the flamingo balanced on its thin and almost impossibly long legs. I like the use of a clean black background to make the bird really stand out. My eye goes back and forth between the body and the head, enjoying the textures. And I can’t help but smile at the comical appearance of the upside-down beak. Exquisite.
2nd The final forehand by Liz Hardley FPSNZ EFIAP/b LRPS
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I can feel the power of the shot, with the bulging veins in the player’s arm, and the oval shape of the ball indicating how fast it must be moving. I love how the sloping lines and the strong diagonal shadows add to the sense of drama and power. Then there is the delightful surprise of noticing the shadow of the flicked shoelace – another indication of fast action.
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PSNZ Canon Online: 3rd It is a happy talent to know how to play and imagine by Rebecca MacDonald APSNZ I can’t stop smiling at this. The boy looks so happy, imagining he is splashing in the shallows with his elephant friend. It’s beautifully composed. The texture, and use of colour on the nonimaginary boy only, gives a dreamy feel to the image for me.
4th Hand in hand by Noline Skeet I can almost hear the two girls giggling happily together as they skip off together in the summery field of long grass, with the warm setting sun on their faces. My eye is immediately drawn to the sun, then explores the gorgeous backlighting of their hair and dresses. 10
5th West Coast by Judy Stokes APSNZ I feel like I’m looking through a portal into another world. A lone nikau palm dominates the scene, standing tall against the wind, while green hills slope down to the sea with a bay in the distance, and the ever-present west coast cloud is rolling in from the sea - ready to dump the next lot of rain on the mountains.
6th Tribal by Julia Home APSNZ EFIAP BPSA PPSA Those huge eyes staring at me are magnetic. I love the use of vibrant colours and rhythmic repetition of lines everywhere. The blur of something moving in front provides me a sense of mystery. I keep returning to the eyes, drawn in by the leading lines, and then explore the face and the echoing shapes.
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PSNZ Canon Online: 7th Get a grip by Graeme Skinner LPSNZ I find this image disturbing and compelling. The hand grabbing the skin is sharp and detailed, with just enough of the body shown to reveal (I think) that this is a woman. The image raises many questions about the anguish that she may be going through, with the title hinting at depression. What if anything is the meaning of the tattoo? Very powerful.
8th Young love by Susan Kane LPSNZ What an extraordinary connection between these two. The image is sharp and clear on their faces, with every laugh line and wrinkle suggesting a happy life well lived. While the defocused background is busy, I don’t find it too distracting; if anything it helps to show that the couple only have eyes for each other, and couldn’t care less about everyone else around them. 12
9th High rise by Bill Hodges APSNZ EFIAP I feel like I have a crick in my neck from looking up. The buildings tower imposingly over me. I appreciate the careful attention that has been paid to lines and edges, and the strong graphic design. The small, lone tree on the balcony appears defiant to me, in the midst of the overwhelming manmade concrete and glass.
10th The leap by Roger Ball A perfectly frozen moment of time on a hot day in Wellington. I enjoy how the leaping boy’s shape mirrors the angles of the Te Papa structure behind him. My eye goes back and forth between him and the boy watching him, and then wanders off to check all the other people to see if they too are watching, or just doing their own thing. Lots to explore in this image.
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Street photography - special feature Street photography is all about shooting the everyday life we see all around us. In this special feature New York photographer Dave Beckerman shares some tips and techniques. Dave very kindly gave us permission to reproduce his article in CameraTalk. In the interest of space we have trimmed the article down a little. To see Dave’s work go to https://david-beckerman.com and you can find the full article at https://www.picturecorrect.com/tips/street-photography-tips-and-techniques/ Dave’s article used photographs from other photographer whose work we had not sought permission to use; therefore they have been replaced with images from Mary Livingston LPSNZ and Paul Whitham LPSNZ.
Image by Mary Livingston
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Street photography - Tips and techniques By Dave Beckerman
WHEN YOU’RE GETTING started the challenge is overcoming the fear of taking pictures of strangers. Since telephoto lenses are not normally used in street photography, how can you stand a few feet from your subject, put the camera to your eye, focus, and click the shutter - without getting nervous? A good street photographer is not only fearful in the beginning (this is a good sign of being sensitive) but will also not want to do anything which will change the way the subject is behaving.
The psychological and moral issues
With practice, you can overcome your reluctance to photograph strangers as well as learn techniques which will help you take better candid shots.
Most of the time, you see something that you simply want to share with the rest of the world. It might be funny, odd, mysterious, have an interesting design, or any other quality that you think is worth shooting. But you are nervous about taking the photograph.
One word of caution – it can be addictive. After a while the street photographer will choose which seat has the best view in a restaurant, or which side of the street offers the best possibilities.
The first thing to accept is that you are invading the privacy of your intended subject. You may have the best intentions in the world, but once you decide to point your camera at someone without permission, you will be invading that person’s personal space. This is what it means to take a candid street shot. Before going into the physical techniques which can make your job easier, it is important to look at your own motives.
This is normal. When you are just starting out, ask yourself whether you would take the picture if you weren’t afraid of your imagined consequences. This may seem drastic, but pretend that this is your last day on earth, and that nothing else matters but getting this shot. Take a deep breath and after learning the various techniques listed over the next pages – you should be ready to get at it. Image by Mary Livingston
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Dress the part You’ll be headed out to a tourist spot, so dress like a tourist. I’m not kidding. Although you may have lived in your city for 50 years, get yourself a tourist map and dress like you have just arrived from the mid-west on vacation. I’ll leave that part for you to figure out. Visit a crowded tourist attraction where everyone has a camera. Dress and act as just another tourist. Study your tourist map. Gawk at landmarks like everyone else, and keep an eye out for interesting subjects. Do not remove your eye from the camera after taking your shot!
Start off like everyone else. Take pictures of the landmark. Keeping the camera to your eye you can now scan through the crowd for something interesting. As you take pictures, do not remove the camera from your eye after you have the shot you wanted. Continue to move the camera around, pretending to take pictures. Never give away the fact that you’ve taken someone’s picture by removing the camera from your eye after taking the shot. You may not find anyone worth shooting, but this is an easy way to get started. It shouldn’t be very scary, and you will find that even while standing very close to your subjects you can take their pictures without arousing suspicion. You can employ the same techniques at street fairs, or parades. Just about any crowded area which is filled with tourists is a good place to practice.
Image by Mary Livingston
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Image by Paul Whitham
Keep both eyes open; turn off the LCD! what’s going on behind you. Keep your non-shooting eye open.You should be able to look at possible subjects even with the camera to your eye. Most DSLR cameras have an LCD screen for viewing images on the back. This should always be turned off. You just don’t want the LCD coming on while the camera is to your eye. It’s annoying and it gives away the fact that you’ve taken a shot, especially in a dark location. Also, if the LCD is off, and you hold the camera a little in front of your face, you can see the reflection of
Knowing what is happening behind you is useful in a street where people are moving around because you can estimate the distance to the potential subject when you turn around, and have your camera pre-focused for that shot. Of course you’ll need to gauge how fast they’re walking towards you, and about where you’ll turn around and snap. But again – as you turn keep the camera to your eye as if you are just looking around.You will be surprised at how easy it is to take a picture when the subjects are five feet or so from
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Shooting from the hip vs having the camera to your eye you - without them knowing. As a general rule, if you can shoot with the camera to your eye, you will do better. I know there is an entire school of shoot-from-thehip photographers, which you can practise as well, but you will never be able to frame this sort of shot as well as with the camera to your eye. (That’s my own opinion and of course open to debate.) There will be times when it is impossible to shoot with the camera to your eye, and so shooting from the hip is worth learning, but I don’t think it’s a good way to get started. You need to make decisions about depthof-field. A common technique for the street
photographer is to rely on hyper-focal distance. I don’t think this is so necessary with modern auto-focus cameras, but the idea is that with a wide lens, in the 30 – 35mm range, you can set the lens to f8, if you have enough light, and set the focus at ten feet, and know that everything from approximately six to 15 feet will be in hyperfocal distance. (I’m not looking at a lens as I write this, so the exact distance and f-stop may be off, and most modern autofocus lenses don’t include a hyperfocal scale. For older cameras with a hyperfocal scale on the lens, this is a tried and true technique.) I just haven’t found it to be necessary with modern auto-focus cameras.
Image by Paul Whitham
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Pre-focus With many modern cameras you can assign focus lock to a button on the back of the camera and exposure to the shutter button. You anticipate that you are going to shoot a certain subject, and hold the back button down to focus on them, but maybe you aren’t ready to take their picture yet and they aren’t moving much.You can continue to hold that back button down until you are ready to take the shot, or you can turn the lens to manual focus while holding the button down. Then you can release the button and know that the focus remains the same. Don’t forget to turn autofocus on the lens back on when you’re finished or all your subsequent shots will be out of focus. Modern cameras have a matrix of focal points; it’s a big selling point. But they are not very useful for street photography. I would recommend turning them all off except for the centre focal point, which you’ll use for pre-focusing. I don’t like the idea of having the camera decide what to focus on. Suppose you’re walking down a street and you see a bunch of subjects leaning against the building to your right.You know that you are going to turn and face them, take your picture and then walk on. The distance between you and any building directly to your right is the same.You focus on a building to your right before you arrive at your subjects and lock that focus. Now, as you approach your subjects, you turn to your right and take your shot without the need to focus.
Image by Paul Whitham
Having a friend along This technique goes back a long way in the history of street photography. Walker Evans would bring a woman friend along with him, and stand on a crowded street pretending to take pictures of her. She was a decoy, and he would move the camera so that she wasn’t in frame and take pictures of the people behind her.
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Tougher locations When Walker Evans did his series of subway “portraits”, he used a Rollei twin lens camera. You look down at the ground glass to focus and compose. Evans used a cable release which he ran up the arm of his coat. He put the camera on his lap, sat directly across from his subject, and kept his right hand in his pocket to operate the cable release. He knew ahead of time, what the distance was to his subject. If you are shooting on the same subway line, the trains are always the same dimensions. If you don’t have a camera with auto-focus, you know the distance between different points. Evans had one problem with his setup. After taking his shot, it was very obvious that he was advancing the film to the next frame. He would usually get up and settle down in another car with a new frame loaded. Although the subway is a difficult place to shoot, it has one advantage: it’s noisy. There’s always enough noise to drown out the click of the shutter. I have taken thousands of pictures on the subway with the camera to my eye without running into any trouble other than the occasional nasty stare. However, before the camera is raised to your eye it should already be focused. This rule is true for most street shots. You can focus on your subjects when they aren’t looking; set the camera lens to manual and wait for “the moment” if it ever happens. Whether on a train, or in some other location, the easiest time to shoot is when there is a distraction. For example, when the mariachi band enters the car, everyone will be looking at them.You can shoot other passengers without being noticed.
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Image by Paul Whitham
And even if you are seen, people will understand that you have your camera out if you take a few shots of the mariachi band as well. This is the same technique as using a landmark as a reason for taking pictures. Another modern phenomenon which makes life easier for the street photographer is that everyone, whether on the street or in a subway car, is already distracted by their iPods, cell phones, e-books, and Blackberry devices. One day I was on the train, and noticed that everyone around me had earphones, or were reading their email. Combined with the noise of the train, I was able to take closeup shots of a passenger who was about a foot and a half away from me without being noticed by anyone. I found that amazing. It wasn’t like that ten years ago.
Don’t throw anything away No matter how you try, and no matter how good your street technique is, most of your shots will be ordinary.You might come back after a day of shooting with nothing to show for it.You may feel non-productive. Street photography is like fishing. If you enjoy fishing, the catch is important, but the entire experience of getting up early and making many fruitless casts from your boat isn’t nonproductive.You may enjoy the experience whether you return with fish or not.You simply can’t cast your rod and expect to catch a fish every time. Your best street catches make up for all the uninteresting shots. Unlike fishing, you can’t always tell immediately if you’ve caught a great shot. Many street photographers will let their captures sit for a while before looking at them. Don’t throw anything away! Make backups of your images, and even if you
think they’re not very good, don’t toss them. Given the inability to describe what makes a good street shot, you shouldn’t throw any away. Even an out-of-focus shot might have something interesting in it when you have enough distance to judge it.Your may find something in a shot that appears boring when you look at it again a few years later. I never delete digital images.
The oblivious people Street photography is easier than it used to be. People in the city walk around with their senses clogged up. More people are oblivious to what is going on around them than ever before. Music is blasting in their ears, or they’re talking on their cell phones. If they’re not talking on the phone they may walk the streets while reading their email. This makes it easier to photograph a stranger without being noticed.
Image by Paul Whitham
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However, street photography is harder than it used to be. Since we live in an age of urban terrorism and web postings, people and the police are more suspicious than ever. This suspicion extends to landmarks and property. The subways and the streets are filled with video cameras watching your every move. While you take your photographs, most likely you too are being photographed.
Asking permission Photographers who are starting out want to know if it’s a good idea to ask permission from your subject. It would be nice if you could, but it isn’t practical. Once you strike up a conversation with your subject, you are no longer doing street photography. From that point on, the person will strike a pose, and you will be doing what I call street portraits. Should you obtaint a model release? Unless you are doing street portraits, it isn’t practical. On any given day, you may take 100 images, only to find one good one. It would be impossible to ask each person you photograph to sign a release. Many of your shots are of people who rush by you in a fraction of a second.
then you could offer to delete it for them – and don’t play any tricks. Delete it while they watch. If it’s a great shot and you want to keep it, then you’ll have to win them over. If you were using a film camera you could just shrug it off and say “No.” But everyone knows that you can,show the picture on the back of the digital camera. Most of the time, the person is flattered and wants to know if you would like to take another shot. At this point they almost always strike a pose, and you take the picture knowing that you won’t use it.You aren’t a war correspondent.Very few images are worth getting into a big hassle over. In all my years of shooting, the worst that’s ever happened is that someone asked if I would please delete their photo. I think this has happened twice out of ten thousand shots.
What to do if you are caught At some point you will be caught, and your subject will approach you. Maybe they say, “Did you just take my picture?” Honesty is the best policy. The answer is, “Yes.” You smile, and try and explain what it was that you found so interesting about them. With a digital camera, you can show the image on the back of the camera. The person may then be annoyed, or they may be flattered. If they are upset, and the picture isn’t that great, 22
Image by Paul Whitham
Finally Give yourself time to get used to the experience. Expect to be nervous in the beginning. Also expect that after you’ve been at it for a few years these techniques will become second nature. I think that being nervous is actually a good sign. Anyone with some degree of empathy will be uncomfortable doing street photography in the beginning. If you are the type of photographer that begins by sticking your camera in the face of strangers, it is doubtful whether you are sensitive enough to be a good street photographer.
Image by Mary Livingston
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Southern Regional Salon 2019
Salon entries open on 10 July 2019 and Close on 22 August 2019 The Salon is open to any PSNZ member or member of PSNZ affiliated organisations and clubs in the Southern Region Members from outside the Southern Region can also enter provided they are registered to attend the Southern Regional Convention in Invercargill
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26-29 April 2019 Lower Hutt
It’s the final countdown to HUTT2019! As we write this we are entering April, and the countdown to convention is now being expressed in days and not weeks. The committee is putting the final touches to what we hope will be a stellar event. We have scoured the Hutt Valley for the best locations, trekked into the hills looking for fungi, sorted out the food, and had practice sessions to ensure that everything goes to plan. We are even praying to the weather gods to play nice on the weekend. For those not registered this is your last warning. Registrations will close on 10 April, and no registrations will be accepted after that date.
A fine line-up They say a picture tells a thousand words, so looking at the line-up of top New Zealand photographers who will either speak, present workshops or lead off-sites, is a truly impressive sight. Included in the group are five brand ambassadors.
Get ready to buy We are pleased to announce that Photo Warehouse will be joining the convention. We have been told that they will have their trade-in specialist on site. If the new gear appeals, you can get an instant quote of what your old gear is worth.
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Watch those emails Coming out around the same time as CameraTalk will be the last regular email that we will be producing. The following weekend (Saturday 13 April) we will be sending out a series of emails containing all the important information on what you need to bring to make your experience better. Please make sure that emails coming from mailing@hutt2019.org.nz do not end up in your spam filters.
Our YouTube channel If you haven’t already, do a search for HUTT2019 on YouTube and you will find our channel. We are using this channel to introduce the programme and presenters to you. There are 27 videos loaded on there. The latest was a refresher on what the venue looks like.
We’re looking forward to seeing you The whole convention team is working really hard to bring you a high quality event and after nearly two years of planning, we are really looking forward to seeing you all on the 26th.
Chris Parkin APSNZ, Toya Heatley APSNZ, Paul Whitham LPSNZ, Helen Westerbeke FPSNZ, Don Hogben
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Moving On from the Honours Board By Moira Blincoe LPSNZ
As with all things in life all good things come to an end! Sadly, for three members of the Society’s Honours Board, that’s what has happened following the assessment of the 2019 PSNZ Honours Awards. Bruce Burgess FPSNZ has retired from the role of Chair, Secretary Heather Harley APSNZ has closed her files and panel member Bob McCree FPSNZ has completed his three year term. Some decisions are hard to make as was the case for Heather and Bruce. Both have said that after the number of years’ service they have contributed it was time to move on. Having spent eight years on the Honours Board including the last two as Chair, Bruce’s tenure was up and he said it was time to let ‘new blood’ join the board. He said that during his tenure he has been impressed by the continuing climb in the standard of photographic works. Sadly Bob was not able to make it to Nelson for this year’s assessments due to an unexpected health interruption. He was greatly missed but it is good to know he has made a complete recovery and is back on track. Former Board member Graham Dainty FPSNZ was called upon to step in and once again made a valuable contribution. Heather became the Honours Board Secretary in 2014 and quickly immersed herself in setting up systems and processes to ensure the Honours Board could operate smoothly and without hiccups. It would be fair to say that Heather organised most of the board members as well. When Heather assumed the role, the assessment weekend, which is always held at the beginning of March, moved to Nelson where she is based. Naturally Heather then called on fellow members from the Nelson Camera Club to assist her over the course of the three days of judging. Handling up to a hundred or so photography boxes, crates and more requires many hands, as does the unpacking, presenting the prints to the panel; removing them once assessed and packing them up again is delicate work. It was apparent early on that Heather could organise an extremely efficient system for cataloguing the submissions, moving the boxes to and from the judging venue and despatching boxes to either the national convention or the authors, following the judging. While many Nelson Camera Club members have helped Heather at various times, there’s a handful who have supported and worked with Heather since 2014. So, farewell to Don Pittham FPSNZ ANPSNZ, Beryce Vincenzi, Peter Wise FPSNZ and Trevor Rees for acting as handlers, packers and AV projectionists for the past five years. Thanks also to Heather’s son Craig Harley and daughter Janelle Power who have assisted Heather since day one. Without them, organising and hosting these key events in the PSNZ calendar would not happen.
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Looking to the future, Bruce Girdwood FPSNZ assumes the role of Chair while Stephanie Forrester APSNZ steps in as Secretary. With Stephanie based in Invercargill the Honours Board will meet in Invercargill in 2020. On behalf of the PSNZ Council and members, our gratitude and thanks to you all for doing a fantastic job.
The 2019 Honours Board L to R: Bevan Tulett FPSNZ, Bruce Burgess FPSNZ, Meg Lipscombe FPSNZ, Bruce Girdwood FPSNZ, Heather Harley APSNZ, Tracey Scott FPSNZ AFIAP FNZIPP, Graham Dainty FPSNZ, John Boyd Hon FPSNZ Hon PSNZ APSNZ.
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Audio-visual notes by Trish McAuslan APSNZ AV-LAPS EFIAP AAPS
Tauranga Audio-Visual Salon 2019 All the information for this Salon is on the Tauranga Photographic Society website. Please note that the society has a new address. It is https://taurangaphoto.nz/. If you are typing it, please include the whole of this address. In the banner across the top of the home page, you will see Audio-Visual Salon. From there you can see the guidelines and rules, where to complete your entry and how to use web transfer to upload your entries. Entries will open on 6 May and close on 5 June.
Celebration 2019 Each year the AV Makers South Africa run an international audio-visual competition based on a theme which this year is Celebration. There is no entry fee so, if you would like to try entering an international competition, this is worth considering.You have plenty of time to create this AV as entries don’t close until the end of October. Gail Stent APSNZ is one of the judges with the other two coming from Australia and the United Kingdom. Unfortunately Gail doesn’t get a trip to South Africa; nevertheless I am sure she will enjoy the experience. Please contact me at mcauslanav@gmail.com if you would like further information.
Changes to the Jack Sprosen Memorial Trophy Competition From this year you will be able to include short video clips in your AV programme. This brings the Jack Sprosen competition in line with the Tauranga AV Salon which has allowed the inclusion of video for a number of years; most overseas AV Salons also allow the inclusion of video. Rule 6i now reads An AV must consist predominantly of a sequence of still images taken by the author. Other visual material such as video clips including time-lapse taken by the author and the use of third party images such as historic photos, reference or similar images taken from other media such as the internet are allowable. It is recommended that video and third party images are limited to no more than 20% of the total viewing time and relate strictly to the theme of the AV. It is at the judges’ discretion whether there is too much emphasis on third party images, graphics such as titles and text and video clips. Previously there was a maximum frame rate for fast sequences such as time-lapse; this has been removed. It was introduced in an attempt to differentiate between still images shown in quick succession and video which is still images shown so quickly that there appears to be movement.
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In practice this is not possible to verify. Firstly, it is difficult to count images being shown at 10fps. Secondly, in some modern programmes it is possible to use still images on layers which are then moved to simulate motion. If done well, it is not possible to visually differentiate between this and a video clip.
Adelaide AV-Fest The Adelaide AV-Fest is an international competition for audio-visuals. This year there are 149 entries from 16 different countries. The competition is run under FIAP rules which are a little different from the rules we use. This doesn’t prevent us entering our AVs into the competition and this year we have seen eight programmes from New Zealand. For this competition there is a silent audience and, although most are from Adelaide, they have been joined by Adele and Elaine Ashton as well as Trish and Alistair McAuslan from New Zealand. Our country has also been represented by Bruce Burgess who is one of the judges. Hopefully Bruce will be able to share some of his thoughts and impressions with us later. Congratulations go to Trish McAuslan with two FIAP acceptances and Gail Stent with one FIAP acceptance.
Danny Moynehan, President of the South Australian Photographic Federation, presenting Trish McAuslan with her certificates.
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Kapiti Camera Club: 50 years of photography KAPITI CAMERA CLUB, based in Porirua, celebrated its 50th anniversary with an exhibition at Bottle Creek Gallery in Porirua from 1 February to 10 March. Neil Penman APSNZ, life member, ex Club President, Porirua Community Arts Council member, PSNZ gold medallist in photojournalism, winner of the Listener/Agfa Holiday competition, opened the exhibition. Neil spoke about his experiences as a local documentary black and white photographer while in the club. The exhibition showcased members’ printed and digital images and short videos. As well, during the time of the exhibition, two free photography workshops were led by Geoff Marshall.
Neil Penman by Fiona Foxall LPSNZ
KCC members live throughout the Wellington region, although mostly in Porirua. They range in age from teenagers to senior citizens. Geoff Marshall, who has been President a number of times, and a member for 38 years, is the club’s longest-serving active participant. Members have included husbands and wives, parents and children.
KCC members by Fiona Foxall
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The Club has a long history of encouraging members and the general public to learn about and enjoy photography. As KCC 2003 President John Lawrence said, “Isn’t photography great? There is magic in capturing a moment in time, whether it is a news image, action, a family get-together or an artistic creation. These images give the viewer the ability to look back in time and often trigger some form of emotion. Photographs can shock you, make you laugh, cry, entertain and inform you. Photography is a wonderful medium to work in.” KCC has had many changes in its 50 years, including a move from colour slides to digital photography, hosting and taking part in local and international field trips, competitions and exhibitions, and learning from nationally and internationally famous photographers such as Ans Westra, Ronald Woolf FPSNZ and Joan Wakelin. The club’s highlights have been documenting Porirua’s last 50 years, the national and international success of its members, their passion for photography and strong fellowship with each other. On 24 February, the club’s actual 50th birthday and midway through the exhibition, members celebrated at the gallery with a huge red-velvet birthday cake. Cutting the cake were Gloria Bushby who joined the club 50 years ago in 1969, and Gary Jones,Vice President.
Yum! by Garth Jones
Gloria and Gary by Ray Lovell
Club news If your club has information or events that you would like to share, email the details to Lindsay Stockbridge LPSNZ at dilinz@ actrix.co.nz.
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Judge training: Tauranga, 22-23 June 2019 JUDGE TRAINING WILL be held on 22 and 23 June in Tauranga. The venue is the Arts & Crafts Centre, 177 Elizabeth Street West, Tauranga 3110. Please don’t leave it until the last minute to register as these workshops fill up quickly, and we have a maximum capacity of 30. The workshop starts at 10.00am on Saturday and runs until approximately 5.00pm. On Sunday it starts at 930am and finishes at approximately 4.00pm. Members of PSNZ and members of affiliated clubs are invited to attend. There is no charge for financial members of PSNZ and a small charge for those who are not financial members. There is no expectation that those who attend will continue on to the training to become a PSNZ Accredited Judge. The workshop aims to provide those attending with a good understanding of the standards expected for club judging.You will be taken through a process of image evaluation and critiquing which will help you to put aside your personal prejudices and bias to give a balanced and informed critique. Comprehensive handout notes are provided at the beginning of the workshop. Lunch, morning and afternoon tea are provided. If you are interested in attending, please email judging@ photography.org.nz to secure your place. Please provide the following information: • Name • PSNZ member YES/NO • PSNZ Honours • Phone number, preferably mobile. It will be first in, first served – remember, the maximum capacity is 30.
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23nd Laurie Thomas NZ Landscape Salon 2019 By Carolyn Elcock ANPSNZ AFIAP, Team Leader
AS ANNOUNCED IN the last issue of CameraTalk, the judges for the Laurie Thomas Salon alternate between the North and South Islands. This year our judges are from the South Island. All have a wonderful eye for seeing our New Zealand landscape in a unique manner, creating inspiring photographs. They really need no introduction, so the following background information is likely to be very well known by fellow photographers in New Zealand. Our judging convenor is Ian Walls FPSNZ from Christchurch and a member of the Christchurch Photographic Society (CPS). When PSNZ reinvigorated its judge training programme Ian was one of the first to complete the Accredited Judge qualification. He now regularly judges at club, regional and national level and is a member of the Judge Accreditation Panel. Ian says, “It has been a challenge for me to understand why I am drawn to photograph the things that I do, and to recognise what this says about me. By nature, I am an optimist; I see the positive side of things first. Photography is all about seeing things that others may not see. Consequently, my viewpoint will be a positive one. I make pictures that I enjoy. For me photography provides a means and a motive to become a better observer of the good, the beautiful and the interesting. As a judge I strive to recognise the personal vision that the individual photographer brings to the work. I believe that that vision is critical while design and technical considerations are secondary.” Scott Fowler EFIAP FPSNZ GPSA PPSA is also from Christchurch and a past member of CPS. I first met Scott as a presenter at CPS, where he inspired me to start working towards my International Letters by entering overseas salons. Subsequently I have been to several of his workshops in Otematata and his first in the Maniototo, Central Otago. Scott writes, “I have had a passion for photography for a long time and now run a successful photography workshop business. I am an accredited judge for PSNZ, Online instructor for PSA and have been one of the selectors with Natex and the PSNZ New Zealand Camera book. I have judged many Southern regional competitions and this year I was honoured to be one of the judges in Australia, judging the Maitland International Salon. I compete on a regular basis internationally and have many awards to my name.”
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Andris Apse, renowned New Zealand landscape photographer from Okarito, completes our panel of judges. When I think of images of the New Zealand landscape, it is usually one of Andris’ stunning images that come to mind. Last year’s winning image by Brian Eastwood was taken on one of Andris’ workshops on the West Coast. Attending one of Andris’ workshops is on the bucket list of everyone organising this year’s salon. In the words of Andy Dennis, essayist for several of Andris’ books, “Perhaps as others work through his landscape images, they too will be reminded of the years of patience required to assemble a collection as memorable as this, and how lucky we are that people exist who are prepared to devote their lives to enable the rest of us to see, by the simple act of opening a book, what is beautiful and moving about landscapes and light.” About Andris: • Full time landscape photographer since 1983 • Member New Zealand Order of Merit • Honorary Fellow of the Australian Institute of Professional Photographers • Fellow and Honorary Fellow of the New Zealand Institute of Professional Photographers • Life member of the New Zealand Institute of Professional Photographers Andris has produced nine books of the New Zealand landscape. He lives in Okarito with his partner Lynne. “ The 2019 Laurie Thomas Salon opens for entries on 5 April. Go to lauriethomassalon.com for details. The closing date is 17 May 2019.
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A reminder that entries open for the Trenna Packer Salver Competition on 1 May 2019 The Trenna Packer Salver has been returned to the South Island by the Pukekohe - Franklin Camera Club and is waiting for the next club to claim it for a year. Their winning set is shown below. The competition is open to all photography clubs in New Zealand; for more information and entry form go to our club web page detailed below. We are excited to have as our judge this year Chris Helliwell. Chris is a photographer who specialises in images of Nature and Macro subjects. He has always had an interest in wildlife and photography but it was not until recently that the two have combined. His macro images show the detail and beauty of the insect world that people just walk past or don’t know exist. Chris likes to capture moments that people would normally not see; he spends many hours and sometimes even days studying his subjects and learning their behaviours before photographing them. Chris is the current NZIPP Nature Photographer of the Year and has won the PSNZ William C Davies Memorial Trophy for the last two years. Entries close on 14 June 2019. See details at www.naturephotography.nz/trenna-packer-salver Carolyn Elcock ANPSNZ AFIAP Salon Coordinator
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PSNZ Interclub Competitions 2019 By Peter Wise FPSNZ
EIGHTEEN PSNZ AFFILIATED clubs submitted forty-two sets of a very high standard to be considered for this year’s four PSNZ Interclub competitions. The Rangiora Photographic Society did very well and won both the Wiltshire Memorial Cup for the best open projected set of images and the Bledisloe Cup for the best set of open prints. The judges commented that the Wiltshire set had some particularly strong images with diversity of colour and subject matter. The image of the pier with a person under the lights is particularly strong. In the winning Bledisloe entry each image scored highly with great diversity of subject matter creating a high quality set. Howick Camera Club won the Bowron Landscape Trophy with images described by the judges as having a strong artistic element that made the images stand out. The Chance Cup was awarded to the North Shore Photographic Society for their set which began with a very strong image of a lighthouse and continued with two more beautiful images before finishing with a superb print of gannets. The judges for this year’s event were John Reid APSNZ ANPSNZ AFIAP (Convener), Roger Thwaites APSNZ and Irene Callaghan APSNZ. The host club for the judging was Nelson Camera Club.
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The George Chance Interclub 1st North Shore Photographic Society
Castlepoint at dusk
Muriwai at sunset
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The rocks
The stepping stones
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2nd Rangiora Photographic Society
Boulder rise
End of the lake
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Muriwai
Timaru dawn
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3rd Whanganui Camera Club
Isolation
Purakaunui Falls
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Waverley Beach
Whanganui awa gently flows by Kaiwhaiki
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The Bowron Trophy 1st Howick Camera Club
Cascading cataract
Fluidly flowing
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Exquisitely ethereal
Wild whitewater
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2nd Hibiscus Coast Photographic Club
Ascend
Dart River jet boat
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Fox Glacier
St Bathans in the fog
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3rd Rangiora Photographic Society
A chilly morning
Elusive Sefton
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Lindis
Road to nowhere
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The Wiltshire Cup 1st Rangiora Photographic Society
Dew so close
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Solitary
Into the light
Fuschia dreams
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2nd Manukau Photographic Society
The moggies are watching
Inside Jacob’s Ladder
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Free to be
Cowherd
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3rd Nelson Camera Club
My heritage Waikawa Marae
Junkshop violinist
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Lighting up
The stories he tells
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The Bledisloe Cup 1st Rangiora Photographic Society
The eyes have it
A little cracker
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Old and proud
Evening glow
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2nd Whanganui Camera Club
Bud on bloom
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Autumn leaves
Life force of the forest
Generation gap
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3rd Auckland Photographic Society
Nest egg
Bellbird nest
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Balance
Moeraki rocks!
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NZSSPC: Year two by Karen Lawton
PSNZ WAS PROUD to offer sponsorship and support to the New Zealand Secondary Schools Photography Competition (NZSSPC) for a second consecutive year. The NZSSPC team, led by originators Petra Patterson and Sally Zhang, introduced a few new elements in 2019. While the competition had an overall theme – CONTRAST – students were invited to enter into three set sub categories – Still Life, Nature and People. Entries were received from 55 schools throughout New Zealand. Across the categories there were 43 entries in Still Life, 143 entries in Nature and 81 in the People category. These 267 photographs were also up for the People’s Choice award which resulted in 702 nominations. A team of three PSNZ accredited judges – Jean Moulin APSNZ, Judy Stokes APSNZ and Karen Lawton – spent an interesting few hours undertaking the judging for this competition. They were tasked with choosing six finalists in each category, then narrowing that down to a first, second and third (again by category). The Awards evening was once again held at the Bruce Mason Theatre where the top 18 images had been on display for several weeks. The evening was well attended (around 80 people) and it was heartening to see so many families out supporting their young student photographers. Sixteen of the 18 shortlisted winners attended the awards evening and a number of them were from far out of the greater Auckland region. A new element introduced this year was an online auction of all finalist images from the 2018 and 2019 competitions. Closing on 4 March 2019, this initiative raised $335 and all the proceeds were donated to the Make a Wish Foundation. The top bidding image was Us and Earth by Isabella Lee and was sold for $95. It was amazing to watch this community spirit oriented initiative in action and the NZSSPC team should be applauded for their actions. The organisers commented: With our competition aiming to help gain exposure for secondary school photographers we feel that this new component to the competition not only fulfils our goal but we are proud to provide an opportunity for high school students to use their artistic skills not only for themselves but for others as well, showing them the impact that their work can have on the wider community.Thank you to all our photographers, and of course our generous bidders who have contributed to this wonderful result. The NZSSPC is also sponsored by the Bayleys Foundation which has confirmed financial support by way of a grant for the 2019/20 event. It is also well supported by a number of trade organisations, with generous donations of goods for prizes totalling over $4800. For more information please refer to: https://nzsspc.com/
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PSNZ Vice President Karen Lawton announces the shortlsted photos.
The shortlisted photographers
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Winnner - Nature category Eden Ivatt-Oakley Y13 Kristin School
Winner - People category & People’s Choice Award Fiona Glennie Y12 Sacred Hearts College
Winner - Still life category Jaimie Hussain Y12 Marist College
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PSNZ membership benefits Helping photographers grow As a PSNZ member you can enjoy a range of benefits, including: • Expert advice to help improve your photography. • The opportunity to achieve a higher Society distinction (APSNZ, FPSNZ). • A complimentary copy of New Zealand Camera, and the ability to submit your images for selection in this annual publication. • Access to member only resources, including a member only PSNZ Facebook page for social chat and updates with other members. • The opportunity to enter the Canon Online Competition, with trophies for each round and for the overall winner each year. • Discounts for Society activities, such as the annual PSNZ national convention, special workshops, international competitions and much more. • The opportunity to participate in regional club meetings and events, including the PSNZ Workshop Series • A copy of our bimonthly member’s magazine – CameraTalk, with news, reviews, events and some of the best photography around. • The opportunity to exhibit your work in exhibitions such as the PSNZ Canon National Exhibition, Regional Salons and other member only online competitions. • Access to judge training workshops which are free for PSNZ members. • Ability to promote your website on our website. • Receive our regular blog posts to stay up to date with the latest news on events, activities and special offers. • Product discounts and savings when they are offered from our corporate partners and associated companies. • Discounts for major NZIPP events as a PSNZ member.
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The North Shore Salon of Photography 2019 Preparation for the prestigious North Shore Salon is once again in full swing.
The committee for the North Shore Salon is pleased to announce that planning for the 2019 competition is well underway. For the 24th edition of the salon, we will once again be returning to our roots and featuring similar categories as the first event in 1995, namely open print and digital, mono prints, scapes, fantasy, people, abstract and street. After receiving a tremendous response last year, we have decided to once again feature the fantasy category to showcase the exciting work that many of our digital artists are producing. Last year the salon received 1852 entries from members of 49 PSNZ affiliated photographic clubs and societies across the length and breadth of New Zealand and the exhibition held at the Mairangi Arts Center attracted hundreds of visitors. The North Shore Salon is proud to once again form part of the Auckland Festival of Photography which attracts photographers from all corners of the globe to be part of this prestigious event. 2019 Auckland Festival of Photography will be NZ’s premium international photographic festival, that brings together photographers, curators, students, amateurs and professionals for the aim of encouraging the public to celebrate the art of photography. Visit http://www.photographyfestival.org.nz/ for more details
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This year we have once again attracted six distinguished judges, namely Kim Westerskov FPSNZ, Ollie Dale, Rachael Smith, Ian Walls FPSNZ, Russell Hamlet and Bruce Burgess FPSNZ who will have the unenviable task of selecting the best images from the thousands of entries for acceptance into the salon.
Will your images be amongst them? Entries for the 2019 salon open on 26 April and close on 12 May so start sorting your portfolio and find your gold medal images now. Judging for the salon will take place on 25 May and the results should be available within a few days. All accepted images will once again be proudly displayed at the Mairangi Art Centre between 4 June and 18 June as part of the Auckland Festival of Photography. For more information, please visit the website: www.northshoresalon.co.nz 24 medals will be awarded. These include Gold, Silver and Bronze awards as well as Honours, Highly Commended, Acceptance for each section. The Salon Supreme Award will be awarded to the over all best image. Last year more than 400 awards were won. Now is the time to prepare your entry into the North Shore Salon 2019.
In addition to the main salon, 2019 sees the launch of the North Junior Photo Competition. The North Shore Junior Photo Competition is open to anyone of 18 years and under.You don’t need to be an experienced photographer or have a fancy camera. The Junior Photo Competition is open to anyone who can take a photograph. Entries are in digital format only so there’s no need to spend money on printing or mounting and postage. Just click on the entry button and upload your images. The junior competition opens on 26 April 2019. For more details go to www.juniorsalon.co.nz
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Key dates for the diary April 5 April 10 April 25 April 26-29 April 26 April 28 May 1 May 6 May 12 May 17 June 1 June 5 June 14 July 10
Entries for Laurie Thomas Salon open Registrations close for Hutt2019 Canon Online round 2 close Hutt2019 National Convention Entries for North Shore Salon open PSNZ AGM - Lower Hutt event centre Entries for Trenna Packer Salver Salon open Entries for Tauranga AV competition open Entries for North Shore Salon close Entries for Laurie Thomas Salon Deadline for next CameraTalk edition Entries for Tauranga AV competition close Entries for Trenna Packer Salver Salon close Entries for Southern Regional Salon open
The last image
Mary Livingston LPSNZ - Shot in Tunnel Gully Upper Hutt, on a freezing winter’s day. Perfect for mental health week and light at the end of the tunnel even if you have a black dog in your life.
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