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 2020
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
WELCOME TO THE second edition of CameraTalk for 2020 which we hope you will all enjoy during the time of lockdown. This issue contains a a special feature on what you can do when stuck as home as well as information of salons coming up. It also contains the winning image from the four interclub competitions. We also include a small selection of images from the first 8 days of the Isolation Challenge which is running on the PSNZ members Facebook page. Paul Whitham LPSNZ Editor
SECRETARY Patrice Nilsen 8 Raroa Terrace, Tawa, Wellington 5028 t. 04 232 1565 e. secretary@photography.org.nz
Key Dates for the Diary
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2019 Canon Online Winner
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Editorial
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The Isolation Challenge
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Salon Promotions
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Unlock the Lockdown Creating Opportunities at Home PSNZ Interclub Salons
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Canon Online Results
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1June 2020
Member Profiles
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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.
Useful Links
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EDITOR, ADVERTISING & LAYOUT 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
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 Rachel Hume’s self portrait entitled Housework taken as part of the Isolation Challenge. (see page 8)
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I STARTED TO write this message thinking, “Where on earth do I start?” as there were so many thoughts swirling in my mind. In the world as we knew it before COVID-19 turned it upside down, I would probably have commented how eager I was to be heading to Christchurch for the 2020/Vision national convention. Instead, we are dealing with a crisis unprecedented in today’s world and in the history of the Society. It has been surreal to say the least. I’m acutely aware that this incident has not only affected our members, but members of many societies and Not for Profit organisations the world over. One minute, one day we were blithely carrying on at our usual hectic pace, making plans to celebrate birthdays and weddings; travelling to workshops; travelling to judge the Honours Awards (with the members anticipating their results) and of course looking forward to fuelling our thirsts for photographic knowledge and networking in Christchurch. The decision to cancel all of our events, including the PSNZ Workshop Series whilst difficult, was of course necessary, and as a Council, we were pleased we made the call when we did. Thank you to everyone for your most positive comments and feedback on our management of this. For those delegates who registered for the National Convention you will have received an email advising you of the refund process. To ensure you get reimbursed please send your bank account details to our Treasurer, David Knightley at treasurer@photography.org.nz Similarly, refunds for members who registered for the first two Workshop Series (WSS) are also underway and Nicole Tai, a WSS coordinator, has been emailing members.
A Note from the President During this time we have seen a band of camaraderie between members, all offering messages of encouragement, motivation and inspiration. None more so that the fantastic initiative thrown up by Councillor for Membership James Gibson APSNZ EFIAP, the daily “Isolation Alphabet” challenge. Asking members to make a photograph representing the letter of the alphabet according to the number of days in lockdown and post it to the PSNZ closed Facebook group. The number of images coming in each day has been astounding. The creativity and imagination that is being put into making the photographs is fantastic to see and quite often when I look at them and read the attached caption or description, I end up laughing out loud. According to James, there have been anywhere between 40 and 90 submissions each day. It’s become a daily ritual of poring over the posts to see the creativity and competitive streaks coming out! (continued overleaf)
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On the first week of lockdown I was invited to attend a meeting with the Dunedin Photographic Society, which I did from the comfort of my study! The club had spent a week organising the technology and promoting to members to conduct the meeting over ZOOM, so all one had to do was click the invitation link via email, and voila, there we all were, attending the meeting and listening to an excellent presentation by Bob Dagg on his various research trips to the Antarctic while seeing the environment and its inhabitants close up through his images. No doubt many other clubs are also conducting electronic meetings and holding competitions and challenges via Facebook or Instagram. As a result of the cancellation of the national convention, Council is now working on the best way forward and time to hold our Annual General Meeting. While I can’t say exactly when this will happen, I can tell you it won’t happen in April as planned. In all likelihood this will be deferred until post lockdown and when we know the climate is more settled. And in all probability we will host this via electronic or other audiovisual means, taking into consideration of course, the need to make it accessible for as many members as possible to participate. At the time of writing our Secretary, Patrice Nilsen, advises she has not received any nominations for Council, other than those already sitting on Council. This is somewhat disappointing from my position because over the past 12 months, and numerous pleas on Facebook, I have urged members to consider giving back to the Society, whether it be on a sub-committee, off Council role or Council. Behind the scenes Council continues to work hard and it is ‘business as usual’, or as usual as we can keep it during this difficult time. It is at this time of year that we receive recommendations for replacement members on some of the key off Council committees as well as review our own strategies. We are 4
all reviewing the strategic plan and making changes to some of the key objectives and the tactical items we deliver to members. The implications of all the cancellations and the fact people cannot meet face-to-face has greatly affected some of the other key components such as New Zealand Camera. We are working as rapidly as we can to find alternative methods to be able to complete these so please watch your email inbox for further updates. I’m sure most of you will agree that never before have we experienced anything like COVID-19 and the impact it is having on our lives, employment, travel and the economy. Naturally I don’t know everyone’s circumstances but I know we have a myriad of members from juniors, individuals, seniors (many!), and couples, local and international. It is at times like this that I hope we can all dig deep into our personal bank of gratitude and selflessness and share our kindness, compassion, empathy and understanding to the needs of each and every one. Regardless of how well we think we know someone, we don’t know the inner workings of one’s mental health and crises such as this affect every one differently. Stay strong, stay home, keep connected and be kind. Remember, this is something that is ‘beyond our control.’ We are all in this together, our virtual doors and emails are always open. As Winston Churchill was once quoted, “Attitude is a big thing that makes a big difference.”
Kind regards, Moira Blincoe LPSNZ President
Key dates for the diary April 25 May 1 May 1 May 5 May 24 May 29 June 10 June 19 June 25 July 6 August 1
Canon Online Round 2 closes Entries for Laurie Thomas competition open Entries for Trenna Packer Salver open Entries for Tauranga AV competition open Entries for Laurie Thomas competition close Entries for Creative Focus open Entries for Tauranga AV competition close Entries for Trenna Packer Salver close Canon Online Round 3 closes Entries for Creative Focus close Nelson National Triptych Salon opens
Hanging On by Karen Moffat-Mcleod LPSNZ
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2019 Canon Online Winner Announced AFTER SIX CLOSELY competed rounds the winner of the 2019 Canon Online competition was Jo Curtis LPSNZ. The final scores of the top ten are as follows: Place 1
Entrant Jo Curtis LPSNZ
Points 35
2
Lynn Fothergill LPSNZ
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3
Liz Hardley FPSNZ EFIAP/b LRPS
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4
Roger Ball
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5
Julia Home APSNZ EFIAP GPSA PPSA
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6
Dawn Kirk LPSNZ
18
7
Richard Laing
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8
Sue Riach APSNZ AFIAP ARPS
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9=
Hartmut Joschonek
15
9=
Raewyne Cathie LPSNZ
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You can see all of the placegetters for the six rounds in 2019 at https://photography.org.nz/salons/canon-online/2019overall-winner/. The aim of the competition is to encourage the development of creative photography through digitally projected images. This competition is only open to PSNZ members. You must be a fully paid up member of PSNZ to participate. Log in to the Member Area of www.photography.org.nz website to view the rules and submit your entry.
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Editorial : A Little Thank You Goes a Long Way By Paul Whitham LPSNZ
I HAD PLANNED the content of this issue’s editorial long before the world was turned upside down and we found ourselves in lockdown. I actually decided to continue with it because I feel that now, more than ever, its message is important when so many people have to rely on others. It always amazes me how many people expect others to do them favours, without even the simplest message of thanks afterwards. I am currently in the judge accreditation programme. That involves assessing images for clubs and providing them with feedback. For those of you who are not familiar with assessing images, it is a lot of work and can take a lot of time. And for people like me, who work full time, it is time that has to be taken from other activities. Now people don’t do this for a reward but it is disappointing, to say the least, when you spend in excess of 20 hours assessing, and the club doesn’t even have the decency to say thanks. Let alone filling in the assessment form that is part of the accreditation process. This has happened to me on three occasions with three different clubs, so it is clearly not a singular occurrence. The result of their actions, or lack of them, is that there are now three clubs whose work I won’t assess again. Furthermore, if another judge asks me about them I will also tell them about my experience. I am not unique in being treated this way. The same complaint has been expressed by many fellow judges and trainees. I’m currently the competition secretary for the Hutt Camera Club and I know firsthand how difficult it can be to find assessors. I wonder whether people are reluctant to assess work because of the actions of other clubs, and sadly it is true that judges are leaving precisely because of the discourteous behaviour of ‘some’ clubs. The failure to say “thank you” is actually fairly widespread, but generally I have found it in entitled millennials, certainly not in the age range of the average club member. Quite frankly I considerate it just bad manners. This is especially so in voluntary organisations, where we rely on the goodwill of others. Do not underestimate the power of a simple “thank you” when it is given with sincere intentions. Often it is the glue that holds everything together. Finally stay safe, and stay home.
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The Isolation Challenge As a result of the lockdown, a lot of PSNZ photographers are stuck at home. To give people something to occupy themselves PSNZ Councillor for Membership James Gibson APSNZ EFIAP came up with the Isolation Alphabet Challenge. The concept was simple. Each day members were to shoot something starting with the letter of the day, and post the image to the PSNZ members group. The results have been an amazing collection of creativity. Here we present a very small selection of the 451 images submitted between letters A and G. The Facebook group (which is limited to financial members of PSNZ) can be found at https://www.facebook.com/groups/PSNZgroup/
Architectural Abstract by Mary Livingston LPSNZ
Ballet Shoes, Bird & Butterfly by Karen MoffatMcLeod LPSNZ
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Angles by Margaret Jorgensen APSNZ
Bloodbath by James Gibson APSNZ EFIAP
Cathy from Countdown by Meg Lipscombe FPSNZ
Chant my Commitment by Nicole Tai
Distressed by Ana Stevens Dandelion by Pauline Smith LPSNZ
Egg by Vivianne Baldwin APSNZ Eye of the Needle by Marie Bilodeau LPSNZ
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Film by Ken Brister
Footprints on the Green by Sara Varenne
Goody Goody Gumnuts by Cushla Moorhead
Grinds by Julia Home APSNZ EFIAP AAPS GPSA PPSA
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Entries Open for the Trenna Packer Salver Competition on 1 May 2020 By James Thompson, Salon Coordinator
THE TRENNA PACKER Salver competition is the annual New Zealand nature inter-club competition run by the Nature Photography Society of New Zealand. This competition is for sets of six nature projected images and is open to all clubs in New Zealand. The objective of the Trenna Packer Salver Competition is to illustrate the diversity of the natural world in New Zealand and its offshore islands. We hope that by running an annual New Zealand nature inter-club competition we can promote an increasing interest in photographing the natural world as well as encouraging best practice in photographing nature subjects. Coordinators of sets, please note that the competition is for sets and the image showing the format should be presented in a single row of six. The emphasis is on the set, rather than on the individual images, so it may be better to leave out an excellent image if it does not fit well with other images in the set. The completed set must provide a pleasing demonstration of both technical skill and artistry. The sets will be judged for flow and cohesion, from image one to two, two to three, three to four etc. As this is a nature competition, titling is important. Clubs are invited to make it even harder for our judge this year by using diversity, flow, cohesion and correct titling. This year the judge is Julia Home APSNZ EFIAP AAPS PPSA GPSA Julia is a Canterbury-based photographer who gained her Associateship from PSNZ in Nature a few years ago. Her interest in general photography started back in 1993 when she joined the Kaiapoi Photographic Club and then found that nature and wildlife photography was what she really enjoyed, especially because birds, bugs and fungi didn’t argue too much with her, unlike human subjects. Julia enters international photographic competitions and has gained several awards in nature from these competitions. She is an accredited open and nature judge and has been on several local, regional and national judging panels. She is also part of the Judge Accreditation Panel for the Photographic Society of New Zealand. Last year the competition was won by the Howick Photographic Society. The judge, Chris Helliwell LPSNZ, had this to say about the set. ” A very diverse set with no repeated subject; there is no large changes in size either. Look at image 2 and the transitions around it; there is a big colour change here. Look at swapping image 2 and 3 to see how this works. I love the soft feeling that this set has; the lighting on image 5 is very nice. I also like the extra information included in the titles.” Entries close on 19 June 2020. See details at www.naturephotography.nz/trenna-packer-salver
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2019 Winning Set - Howick Photographic Society
Hand Sketch by James Gibson APSNZ EFIAP
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23rd Laurie Thomas NZ Landscape Salon 2020 By Kathrin Affeld, Salon Organiser
New Zealand’s premier salon for landscape projected images is run by the Christchurch Photographic Society and will be held again this year. The salon is named in honour of Laurie Thomas, a Christchurch Photographic Society member and passionate landscape photographer who was recognised internationally for his New Zealand landscape photography. He would not have imagined that his name would become synonymous with one of the most anticipated events on the country’s photographic calendar. Since its humble beginnings 24 years ago, the Laurie Thomas New Zealand Landscape Salon has undergone a complete transformation from slides to digital images and now attracts up to 700 entries from amateur and professional photographers alike. The salon has no prescriptive definition of a “landscape” to encourage entrants to be creative and present their own interpretation of the New Zealand landscape. The winner of the salon will be presented with a unique trophy to keep, designed by Lesley Sales FPSNZ. The trophy known as “Wind & Water” symbolises the essence of the New Zealand landscape: water, wind, trees and light. Lesley says the outline shape suggests a mountain and the forces acting upon it to carve out the landscape. Mountain streams flowing down the mountainsides are depicted by internal cut-out lines. The action of the wind is suggested by an invisible, implied line that begins as a curl on the outside edge of the mountains and flows across the landscape. Trees clinging to the mountainsides add another dimension, that of vegetation and plant growth. Light defines the shape of the mountain, illuminating the waters, the shapes, the trees, silhouetting the shapes of the landscape.
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This year’s salon will be judged by North Island judges Brian Eastwood MNZIP, Bob McCree FPSNZ and John-Jones Parry LPSNZ. The 2020 Laurie Thomas Salon will open for entries on 1 May and close on 24 May 2020. It is open to all photographers, regardless of whether they are affiliated with a club or not. Entry details can be found at https://lauriethomassalon.com.
On a Wing & a Prayer - Lake Heron by John Hawkins
Jetty by Anne Riddle
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Unlock the Lockdown! By Ann Bastion FPSNZ EFIAP MFIAP
So, you are confined to your home, with time on your hands! Why not investigate your immediate surroundings and discover the interesting creations you can capture of everyday objects, using a macro lens. The veggies in your fridge, the knick-knacks on your shelves, even the contents of your pocket can provide a happy afternoon of macro experimentation. Buttons and fabric weaves or reflections in a cup or glass can also provide ample opportunity for macro shots.
Equipment You don’t need fancy gear, just a camera and a macro lens. If you don’t have a macro lens then a close-up filter will do the job. If you don’t have either of these you can use a telephoto lens.
a tele lens opened right out and a dedicated macro lens is in the details. The amount of fine detail obtained with the tele lens is not as great as a macro lens would give you, but you may not be worried about that in this instance.
Additional Accessories for Macro Photography A tripod and a simple light are also useful, but not necessary. A “plamp” is a very useful accessory. It can be attached to the tripod to hold back unwanted flowers or stems. It can also be used to hold a reflector or background in place. Or perhaps a small light you might use to illuminate a dark area.
Coffee Machine
To use a tele lens you need to do the opposite of how you would use a macro lens. The macro lens requires that you get close to your subject, whereas a tele lens requires you to get way back from your subject and bring the subject close to you by zooming in to fill the frame. The main difference in images produced with
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Plamp - Background
Close-up filters screw onto the front of your lens and can only be used on objects that are very close to you. They produce photos that are generally softer and less detailed, and they often create unwanted colour problems like “fringing” or chromatic aberration, but they’re fun to use just the same.
How to Take Great Macro Images
2 Use manual focus if you can.
Having the right basic equipment is a must, but just having good tools won’t necessarily produce good shots. The more you experiment and fine-tune your technique, the better your images will be.
You can get the best macro shots by doing the focusing yourself, rather than relying on your camera’s autofocus capability.
Though the actual steps you take are the same ones you take in any other form of photography, the fact that you’re shooting tiny objects from a very close distance puts a new and different spin on everything.
Here are some important tips for getting the most out of your macro setup. 1 Deal with the depth of field dilemma. The closer you get to your subject, the shallower the depth of field (the region of sharp focus) becomes, and this effect can make it very difficult to get your entire subject in focus. You can focus stack, but that’s another subject.
3 Stabilise your camera as much as possible. Use a tripod and a remote shutter release, or at least set up your shots so that your camera is as stable as you can make it. The blurring effects of even the tiniest movements are exaggerated at high magnification and very close range, so keeping your camera as motionless as possible is key to getting the best shots. If you’re hand holding, try to shoot on the “outbreath” for the least jiggle. 4 Move the subject, not the camera. When you’re shooting a staged subject, get your camera fixed and don’t move it, unless of course you can’t move your subject. Once you’ve got your shot framed, light balanced, and well in focus, keep your camera exactly as it is and make any adjustments to your composition by moving the subject. Try arranging your subject on a surface that can be easily moved, elevated, etc. This can be a major timesaver.
Pencils
Autumn Wimsicle
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5 Try the effect of different backgrounds.
6 Fine-tune your composition.
Obviously, this isn’t going to be an option if you’re shooting outdoors, but if you’re shooting on an indoor surface, try using different backgrounds. You might be surprised at the variety of effects you can get. Something as simple as a piece of wallpaper can provide a lot of inspiration.
Don’t depend on post-processing to create your optimum image – compose your best shot in the camera. If you’re focusing on a pattern within your subject, move the subject around until the pattern fills the entire frame, with no gaps. If you’re shooting a small object as a whole, position it so that there’s even space around it on all sides.
You can create your own backgrounds by photographing deliberately out-of-focus shots of things like grass or autumn leaves and printing them on A3 matte paper, to use as a backdrop. This is also where the plamp comes in handy. Attach the object (such as a flower) to the plamp, which is attached to your tripod, and move to the desired background.
Experiment with your point of focus. Sometimes the most minute change will give your subject a whole different look and create an entirely different effect. This can be done in live view so you can see the difference.
Grater
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7 Keep it tidy. When you’re shooting macro, everything shows up. Dust, pet hair, and fingerprints that you can’t see, even with the naked eye, suddenly become annoyingly ultravisible in close-up, highly magnified photos.
8 Start parallel, but experiment with different angles. Generally speaking, it’s a good idea to start shooting at an angle that puts the face of your lens parallel with the most important details of your subject. This will increase your subject’s focus area and make it easier to get more of your subject in sharp detail. But, keep in mind that small changes have significant effects in macro photography, so shifting the angle from which you’re shooting, even slightly, can give you an entirely different picture. 9
Most of all……. HAVE A GO!!!!!
Fire Guard
Weed Heads in Dandilion Seeds
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Creating Opportunities at Home by Toya Heatley APSNZ
SOME TIME AGO, a friend showed me an image of a set-up for photographing birds in the back yard. He knew I had birds in my yard that I often photograph and thought I might be interested in trying something new. He was right and I have. The set-up took a bit of planning and a shopping list was created. Over a few weeks I have gathered the items required and put it all together with help from my ever indulgent husband. It actually came together very easily and the only thing I was disappointed about was the moss – it wasn’t green.
Behind the log is a banana attached to the edge of the tray. I use bananas because they can often be purchased cheaply if you don’t mind bruised or damaged ones, and the birds love them! I have had sparrows, blackbirds, silvereye, tui and bellbirds all eating the bananas in our back yard over the years and I have managed to photograph all except the bellbird so far. I am hoping that the shallow waterbath will attract the birds to bathe in, giving me the opportunity to capture some different images from what I already have.
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So the set-up is easy, it is a black plastic boot liner filled with a bag of river pebbles. The log is attached at the end by a cable tie and the plants are in small pots with pebbles around them. All the gaps have been filled with sphagnum moss. All of this is on a table on my deck in front of some French doors, allowing me to photograph either through the doors or with them open, from inside the house – using the house as a hide. The birds are used to me being in the room moving around so take very little notice of me there. All of these images were taken with my Lumix G9 camera and the Leica 35-100 2.8 lens. I plan on playing around with this lens for a bit before putting on the bigger 100–400 lens. The next stage of playing with this set-up will be using external flash units and a manual controller. Something new for me that I want to learn.
Infrared by Neil Gordon APSNZ
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Nelson National Triptych Salon 2020 Closes 31 August 2020
YES,YOU CAN enter (unless you are a selector)! It doesn’t matter who you are or where you’re from; you may enter this popular “outside the square” photo competition, hosted by the Nelson Camera Club. Entries are for projected images only and each entry must consist of three images on a common background. The combined effect of the three images must tell a story greater than that of each of the three images separately. This can be by way of action, design, colour, emotion, history, scenery, people, animals ... you decide. This is an “open” competition. So as not to hinder your imagination there are only a few rules. The three images must not touch or overlap each other. There must be a clear division between each of the three images, and the background must not act as a fourth image. There must not be a title or any text on the background. Text within the images is allowable. Please note that you may construct your triptych by using three images cut from a single picture. However, for such entries to gain an award the selectors must be convinced that the resulting triptych communicates a very much stronger message than the original complete, uncut picture. Awards will be made for the Champion Triptych, Best Monochrome, Best Weather and Best “Around the Corner”. There will also be Honours, Highly Commended and Acceptance awards. An A4 catalogue will be produced, showing all the awarded triptychs. Please visit https://www.nelsoncameraclub.co.nz/salon-information.html to view the rules and other information. Peter Wise FPSNZ
Android Angles by Barry Doig FPSNZ EFIAP
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PSNZ Interclub Competitions 2020 By Craig McKenzie Councillor for National Competitions
THERE WAS A change in the way the interclubs were judged this year. Nine selectors, from Auckland to Invercargill and points in between, were invited to Dunedin to select the PSNZ SONY National Exhibition in Dunedin in mid-March. To make the most of this pool of talent and add efficiency they were invited to arrive early on the day before the national exhibition day to judge the interclubs. Five selectors were able to make it, not quite enough for two panels. After taking into account the sections to be selected the next day, and any conflicts of interest, two panels were created. Don Kelly Hon PSNZ APSNZ, Judy Stokes APSNZ and Roger Thwaites APSNZ judged the two print competitions and Lynn Clayton Hon PSNZ APSNZ EFIAP ESFIAP, Don Kelly and Karen Lawton judged the projected images. All sets were carefully viewed and after considered, amicable discussion the top sets were chosen. Sixteen societies or clubs entered thirty-four sets, a few down on last year. I thank all the clubs for their entries, members of the Dunedin Photographic Society for assistance during judging and the selectors for making the trip down and their friendly, helpful attitude to the new process.
Bledisloe
Wiltshire Chance
Bowron
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The George Chance Interclub 1st Christchurch Photographic Society
Cape Campbell
Snow on the Way
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After the Storm
Morning at Diamond Lake
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2nd Rangiora Photographic Society
Purakaunui
Fiordland at Dusk
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Curio Bay
Kaikoura Rock Formations
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The Bowron Trophy 1st Auckland Photographic Society
Otago Dusk
Spring Storm
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Weather Bomb
Rylstone Storm
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2nd Rangiora Photographic Society
Pegasus Beach
Touched by Golden Li ght
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Milford Sound-into the Light
Adrift
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3rd Howick Camera Club
First Light
The Dunstan Range
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Storm over the Southern Alps
Early Evening Milford Sound
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The Wiltshire Cup 1st Wellington Photographic Society
A Warm Glow
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Autumn Flax
Two Ladders
Lux Light Art
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2nd Auckland Photographic Society
Mine
Leaving
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Despair
This is Home
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3rd Nelson Camera Club
Cross in the Water
Grid Lines
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Rainbow Bee Eater Catching Bee
Snowy Egret on Nest
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The Bledisloe Cup 1st Auckland Photographic Society
The Last Passenger
Durie Hill Tunnel
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Inner World
Sprite
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2nd Rangiora Photographic Society
Grace
Waiting for Jon Snow
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Sam
Aubrianne
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3rd Christchurch Photographic Society
Risen
Ballerina
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Katydid
Red
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PSNZ Canon Online Results from Round 1, 2020 WE HAD A whopping 157 images in this first round for 2020 – a great start to the year – with a new entry system and a new coordinator. I look forward to seeing your wonderful work coming in. Paul Willyams LPSNZ PSNZ Canon Online Coordinator
The judge for this round was Cushla Moorhead. She writes: It was a privilege and a fantastic experience to do this job. Thank you for asking me. I loved seeing all these wonderful images. It was fun to go through them although much, much harder to sort them. The first five were easier but after that the competition was very close. A bit about myself first. I live in sunny Motueka and belong to the camera club there. I have a background in art as well as photography. I have my Diploma of Digital Photography and my Diploma of Art and Creativity and am an accredited PSNZ judge. I love exploring nature and the natural world. My website - www.cushlamoorhead.kiwi.nz
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Comments From the Judge:
Cushla Moorhead LPSNZ
1st Get off Me. It’s Mine by Sheree Anderton The clarity of the image draws attention to the story and made me laugh. The colours all harmonise. The movement in the wings bring it to life. Beautiful background that shows the birds to advantage.
2nd Missing You by Lynn Hedges LPSNZ A very poignant rendering and very creative. There is so much detail to explore.
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PSNZ Canon Online: 3rd Sahara Dunes by Rebecca McDonald APSNZ Strong bold complementary colours help this image to stand out. The lines flow and draw my attention, yet it is the little details of the bits of grass and the other less obvious lines that make this image.
4th Godwit Gossip by Glenda Rees What a great story. Beautiful details and a quirky take on these birds. Made me chuckle.
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5th Into the Mist by Brett Fordyce Soft lighting gives it a mystique and a calmness. The lines draw me in and I want to go further. I feel the warm colour of the jetty and rails lifts it.
6th At the Hangi by Yan Yuen Powerfully portrayed moment with a clear story.
7th Grandma’s Chair by Sheree Davidson A very evocative image. Harmony of colour and tones with lots of possessions to convey the message. I thought of all the lovely grandmothers I’ve known.
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PSNZ Canon Online: 8th Good Day Surfing by Gordon Speed The lighting of the spray and a high shutter speed highlight the minute details of the wave. It emphasises the power and size of the wave and the expertise of the rider.
9th Cousins by Lyall Richard Reynolds The lovely connection between the two cousins as the little one learns to play is palpable. The soft lighting enhances the atmosphere. I love that look of concentration that only young ones have, and yet it feels peaceful and relaxed. Time spent together.
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10th Going Driverless by Val Pohio LPSNZ I feel like I’m being whizzed along. There is a sense of speed. Exciting and powerful with the lines all disappearing round the corner. Lots of repetition and contrast give it movement.
Entries for round 2 close on 25 April
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Member Profiles Councillor for Membership James Gibson asked a number of members to talk about themselves and show some of their images. Each issue we will feature images from several of our members. This issue we have images by Dawn Kirk, Ron Willems, Cushla Moorhead and Syd Moore. Would you like your work to be featured in the next issue? Please email us at; membership@ photography.org.nz
I Was Hooked! By Dawn Kirk LPSNZ AFIAP
I STARTED MY photographic journey in 1983 when I went on my OE. On my stopover in Singapore, I purchased a Nikon FG with a 50mm lens. When I came back to New Zealand I showed some of my slides to my eldest brother, a keen photographer. He said I should join the local camera club in Gore. I was hooked. Over the years I have tried a variety of genres, beginning with travel photography of course, but then landscapes. Over the past few years I have gravitated towards flower photography. When I joined the Christchurch Photographic Society I was awed by the level of photography in the club. I could see what I wanted to achieve. I have always loved black and white and I’ve read many of Ansel Adams’ books. Recently I have been inspired by Cole Thompson’s images of the Faroe Islands. His minimalist images convey so much passion for me; his use of the slow shutter speed and beautiful light. Truly inspirational! My journey into lightbox flower photography started with a book by Warwick Orme. His images were so ethereal. My goal is to continue this journey, improve my skills and never stop being inspired by nature. Entering my images in competitions has helped me on my journey, sometimes feeling discouraged but always moving forward. With encouragement from a friend I have attained my AFIAP this year, and have now started on the next step, going for EFIAP. My website dawnkirkphotography.com shows some of my images.
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Juvenile Wrybill
Bowing Out
Cape Campbell Lighthouse
Window on the World
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Ron Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS MY SERIOUS PHOTOGRAPHIC journey started while at school in 1969 when I joined the Christchurch Photographic Society, initially aiming to produce photographs as good as I saw on postcard images. This evolved over the years to create serious creative work. The main passion has always been creative work, in camera, in the darkroom and now in Photoshop. Over the years landscape, nature and people have been added to my genres. I’m inspired by the work of Sam Haskins and Ansel Adams.
Purakaunui Falls in Sepia
My next goal is to help other photographers through donating my time in presenting teaching lectures and seminars throughout New Zealand. Another goal is to complete my in-home photographic gallery of 14 framed images measuring 40x50cm or larger. You can see more of my work at www. ronwillemsphoto.com.
Spacial Embrace
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Cameron Autumnscape
Encasement
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Cushla Moorhead MY PHOTOGRAPHIC JOURNEY began when I was 11 years old and bought an Eaglet, a Russian version of the Box Brownie. I had wanted a camera for a long time. I was fascinated by them and by photography. I bought the Eaglet using money I received from selling my pet lamb; self-funding was a condition of being allowed my camera. Fine art photography is my passion. I realised that photography required creativity, not just an ability to “point and shoot”. That’s when I joined the Camera Club. I was initially inspired by a composite image by Kim Falconer. When I saw Kim’s work published in our local paper some years ago, I was excited and knew that fine art photography was an area I would like to be involved in. My next goal is to win a gold medal at NATEX! You can see more of my work at www.cushlamoorhead.kiwi.nz.
Sunrise
Seeding TIme
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Iceland Poppy
Serenity
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My Photographic Evolution, Albeit as a Geriatic! by Syd Moore
MY JOURNEY BEGAN when I was 11 or 12 years old. I already had a strong interest in chemistry which led me into black and white print processing, with a degree of experimentation. Then predictable sequences of life put my photography into dream time until retirement about 20 years ago. I dabbled in black and white at first, and then colour, until the liberation of the digital era eventually permitted my birth into photo-conceptual expression only, almost entirely. I can’t name or remember any particular photographers now, but one American photographer working in the early 1900s USA excelled in black and white collages with rocks and nubile women. Perhaps was it Alfred Cheney Johnston. I successfully experimented with this concept, featuring colour abstractions. That wonderful metamorphosis of my increasing age has reinforced my disgust at how ritualised I had become, in some ways unavoidable. I have changed, and as of now my photostyle lies beyond the stereotyped PSNZ traditions. I now enjoy being a doddery and grumpy geriatric and, as expressed in these and other disgusting images, breaking as many rules as possible. COVID-19 and all its human behavioural manifestations is currently my major source of inspiration.
Upon a Geriatic Orgasm - Well Maybe
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Misunderstanding the Understanding
Me ‘SHOOING’ away that nasty COVID-19 from YOU & me!!!.
CUDDLING, as trees often do, especialy as NOT COVID-19 infection prone
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Useful Links HERE ARE SOME links to chuck in the mix of ‘stuff to do while you’re stuck at home’! https://www.lynda.com/ online tutorials – free to all NZ library card holders https://www.ppa.com/edu/videos Professional Photographers of America are offering two weeks’ free access to their online courses https://www.creativelive.com/ free and paid online learning resources https://phlearn.com/free-tutorials/ for Photoshop tutorials and the amazingly good Aaron Nace! And of course the ever-faithful Google and YouTube…
The Last Image
Hemispherical Halfwit by John Pirtle
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