Cameratalk August - September 2017 by Photographic Society of New Zealand

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 August / September 2017

Editor’s corner hear about what your organisation is doing. Please delegate someone to send me copy and illustrations. If you write it, we’ll print it!

PRESIDENT Peter Robertson LPSNZ PO Box 2, Westport 7866 t. 03 789 8745 e: president@photography.org.nz

VICE-PRESIDENT Moira Blincoe LPSNZ 16a Burleigh Street, Grafton, Auckland 1023 t. 09 379 7021 e. blincoe.communicates@gmail.com

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 Lindsay Stockbridge LPSNZ 14 Poynter Place, Whanganui 4501 t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz

ADVERTISING & INSERTS Paul Whitham LPSNZ PSNZ Councillor t. 04 973 3015 or m. 021 644 418 e. paul@pwfotos.com

CAMERATALK DEADLINE The next CameraTalk deadline is 1 October 2017. Email your contributions to the Editor at his email address. Editorial should be sent as Word or .txt files. JPEG images generally should open to not more than 150mm x 100mm 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.

AS MEMBERS KNOW, CameraTalk is now exclusively an online publication. We are able to publish award-winning photographs at a size and quality that will do justice to the quality of their authors’ work. In addition, we have moved well beyond the limit that an eightpage paper version imposed on us. Our Convention Special, produced earlier this year, ran to 40 pages! The June/July issue contained 22 pages, and as I write I believe this issue will reach 50 pages! The message from the above is that we have heaps of room for copy and pics! PSNZ has scores of affiliated clubs and societies who organise wonderful events for their members. CameraTalk wants to

When CameraTalk was a paper production, several copies were sent to affiliated bodies. NonPSNZ club members coming to a club meeting could pick up a copy of CameraTalk. That’s no longer possible. When your club receives a bulk PSNZ email, giving you the link to the latest issue, it’s crucial that somebody has responsibility for sending on that link to nonPSNZ club members. In my case, I picked up a copy of CameraTalk at a club meeting. Reading that issue led me to join PSNZ. I received a membership pack and soon joined a print circle, followed in short order by attendance at a wonderful regional convention in Greymouth. As they say, the rest is history. Please ensure that every member of your club knows that the latest CameraTalk is out – for them! Lindsay Stockbridge LPSNZ Editor

On the Cover

Gold Medal in the People Print Category and overall winner of the North Shore Salon Rite of Passage by Carolina Dutreal APSNZ

Remember that CameraTalk is now a digital production. Please remind your club members that the digital version of CameraTalk can be found by searching for the word “CameraTalk” at www.issuu.com

HELPING PHOTOGRAPHERS GROW is the answer to the question, â&#x20AC;&#x153;What is the purpose of the Photographic Society of New Zealand?â&#x20AC;? It is the mission statement that summarises and encapsulates the Objects embedded in the Rules of the Society, the foundation document that governs everything we do. Council is charged in the Rules with the responsibility of giving those Objects substance and thus finding ways, through its By-Laws, publications, events and activities, to help its member photographers to grow in skills, knowledge, confidence and enthusiasm. We do this through our regional and national conventions with their keynote speakers, workshops, fieldtrips and demonstrations; with the Salons and Exhibitions, and the opportunities to catch up with other photographers and trade partners. We do it through opportunities to achieve photographic Honours. We do it through our competitions and the feedback we receive from our judges. We do it through our publications like NZ CameraTalk, NZ Camera, the blog, social media, the website, and opportunities for members to have their work published.

From the President's desk

In this issue Canon Online Results

Obituary: Maurice Moffat

We do it through our member services like print circles, recorded lectures and help sheets.

How to plan a nature shoot

All these activities are designed to help photographers grow, and we are constantly seeking ways to achieve that mission. You can help too by giving us some feedback.

Audio-Visual Notes

Out and about

The soapbox

Convention news

D-Photo amateur photographer

Member profile: Sarah Caldwell

Member profile: John Burwood

Trenna Packer Salver

North Shore salon

AV judge accreditation

Kind regards Peter Robertson LPSNZ President

PSNZ Canon Online Results from Round 3, 2017 THANK YOU TO everyone who entered Round 3. I hope everyone is keeping warm and in good health. Our judge for this round is A. John V. Hart is from Dunedin. Thank you so much John for giving your time and interesting comments. It is much appreciated by all. Congratulations go to the top ten authors and especially to Dianna Hambleton LPSNZ from Nelson and a member of Nelson Camera Club - with her super image ‘Killing time’. Well done Dianna Sally Phillips APSNZ PSNZ Canon Online Coordinator

Comments from the judge: A. John V. Hart THE SELECTED TOP ten images produced some very thought provoking works which have the potential to challenge viewers, both emotionally and intellectually. They also gave excellent examples of strong conceptualisation and technical competence in execution.

their magical creative tools. Enhancement filters, for example, often produce high impact and exciting transformations from what has been seen out in the field, but this stage often needs to be followed by down-playing the effect, and perhaps introducing other “added value” inputs.

The 75 entries, as a whole, reminded me of how much pleasure our members are getting from their clever digital cameras and enhancement software. However, there was evidence that some photographers are placing too much emphasis on

Likewise, the popular HDR mode results need to be critically appraised. Extra shadow detail may be gained, but mid tones often still need to be lowered in value, for best effect.

WELCOME TO THIS, the second ‘online only’ issue of CameraTalk! The Convention Special took some completing, and some

Killing time by Dianna Hambleton LPSNZ

1st Killing time by Dianna Hambleton LPSNZ This is an image which invites different levels of study. We easily access the two foreground men. The right hand one is the more dominant one because of his warmer hues and his open eyes which are slyly looking towards the other. From there we explore the recessive background diffused by the reflections and lower tones. There we see two others who are also killing time. It is with that setting, we can then develop our own interpretations. An underlying theme could be how in this cyber age, some people are lessening their social interaction with others, some become alienated, and some just lock themselves into

their own space with their digital device. Maybe the two prominent window partitions are symbolic of that division. It is a most interesting image. 2nd Bailey by Shona Kebble APSNZ This is a very strong and confronting portrait which also invites us to go on a journey of interpretation. The freckles, red hair, cap, and penetrating blue eyes are all superbly rendered. But who is Bailey? What is his personal environment? Is he capable of looking happy? Does the black and heavy wrought iron fence behind imply any relevant information or symbolism? Indeed, another work of substance.

Bailey by Shona Kebble APSNZ

3rd The lone spectator by Liz Hardley FPSNZ, LRPS, EFIAP Another strong human interest image, but this time the bleakness is derived from the weather. The falling snow, the umbrellaâ&#x20AC;&#x2122;s droplets, and wet grass all provide textural delights. The tonal range is superb with the recessive, partly obscured runner providing mystery. Is this just a casual but hardy Saturday morning jogger, or is this a setting for a poorly attended event? Again an image inviting repeated viewing.

The lone spectator by Liz Hardley FPSNZ

continued from page 5

PSNZ Canon Online: 4th Geometrics by Neil Gordon APSNZ This abstract carries very well at both thumbnail and full screen size. The composition is very well balanced, while the diagonal thrust provides a dynamic energy which complements the minimalist high contrast aspects.Yet we do see some detail, and ponder over the light source of the shapes entering from the right hand edge.Very satisfying.

5th Ardea Alba Modestra by Anne Lambe There were several bird studies and this was the best in terms of sharpness, lighting, and the information included. The photographerâ&#x20AC;&#x2122;s ability to control the highlight tones and textures has rendered one of the best plumage studies I have seen. Add to that the excellent capture of the behaviour and structure of the heron in landing mode. The minimal base is just

Geometrics by Neil Gordon APSNZ

enough to show the water droplets which suggest some skimming, or a short flight. 6th Audience by Daniel Wong APSNZ A good title as the scene represents an auditorium, just waiting for the first alpine sound or meteorological intervention. In this context, the full exposure of the secondary mountains slows our pace, whilst navigating the circular composition, before we return to the foreground rocks to rest. While Mt. Cook remains the main accent, its partly shrouded top plus the moon inclusion ensure that the iconâ&#x20AC;&#x2122;s dominance is moderated. This is a well conceptualised wide angle landscape, dramatic in physical content, yet quiet in mood.

Ardea Alba Modestra by Anne Lambe

Audience by Daniel Wong APSNZ

continued from page 6

PSNZ Canon Online:

7th Night of the museum by Jo McCarthy A curious title but perhaps it related to a club field trip. This is almost a tryptic if you add the underlying, continuous image to the duo. The entire work offers a range of treats, including minimalistic compositions, excellent tonal range, fascinating floor detail, subtle wall variations, and an opportunity to explore the respective motivations and relationships involving both boy and adult.

8th Defiant by Emily Morgan This, yet another confronting work, is true to its title. The monochrome treatment makes for a stark and gritty portrayal of this woman. Like a classic Agatha Christie novel, there are a number of details or clues which may, or may not, lead us down the correct track of understanding.Very powerfully arranged within the frame, do the arms suggest a barrier or act of submission? A wound under the lip and various other blemishes suggest force has been involved. Does the small aeroplane symbolize possible escape from all this. Is the subject a victim or contestant? You are the jury â&#x20AC;&#x201C; you decide!

Night at the museum by Jo McCarthy

Defiant by Emily Morgan

9th Walking on a cloud by Sue Weterings APSNZ All the entries in this competition could sit somewhere on a continuum between stark reality and pure fantasy with the winner likely to come from anywhere if it is good enough. This image would fall in the middle range since it mixes both elements as it follows the conceptualisation indicated by the title. The procession of people is real and is interesting. The background and foreground show manipulation to varying degree. How it did resonate with me is that it did echo the fleeting transience of a misty alpine environment, where

solid rock reality can suddenly disappear into a quite different, shrouded world. 10th Dance by Prashant Joshi This image provides a happy and uncomplicated finish to the top ten. The animated faces and outstretched arms convey a joyful vitality at this moment of capture. The chosen exposure settings have resulted in both excellent foreground sharpness and some blurring of the background with the help of restricted depth of field. This has resulted in a crucial separation of the dancers.

Walking on a cloud by Sue Weterings APSNZ

Dance by Prashant Joshi

FULL FRAME FROM A NEW ANGLE

Photographer: @matjoez

Obituary: Maurice Moffat Hon PSNZ APSNZ IT IS A sad time for New Zealand photography. Maurice Moffat, one of the Photographic Society of New Zealand’s great photographers, passed away on 15 July 2017 in Palmerston North. Maurice was a phenomenal photographer, judge of photography, seminar presenter, tutor, and sharer of knowledge. During the 1970s, 80s and early 90s, Maurice was a force to be reckoned with - in all the right ways. He was above all a gentleman; wise, warm and humble. He was a most capable and qualified Chairman of the PSNZ Honours Board. When Maurice received his Honorary Life Membership of PSNZ seven years ago, he was very modest and self-effacing. In relation to his work with the PSNZ Honours Board, he stated that it was an easy job. He had Brian Brake, Matheson Beaumont, Geoff Moon,Vonnie Cave and Rich Singleton, among others, with him to help in the decision-making process! That was true, but the reality was that

From Camera - the first fifty years.

Maurice was a great leader, and those on the PSNZ Honours Board at that time respected Maurice immensely. The ultimate compliment to Maurice’s chairing of the Honours Board was that his time at the helm was the least contentious, in an area that was, and still is, quite subjective. Maurice gained accolade after accolade for his imagery. He was not just a great photographer, but also a very talented darkroom technician. Maurice gained some of the top awards from a variety of different salons and exhibitions around New Zealand and internationally. I know that many photographers, including myself, saw additional value in winning a trophy or award that had Maurice’s name on it. When receiving congratulations on gaining a big award, Maurice always emphasised “luck”. We knew better! Superb management, an eye for the different, the creative and the unique, and awesome presentation of his work; these were hallmarks of Maurice’s photography. Luck was the last element of his successes! Maurice was a huge influence on, and inspiration to my father and me, and for many other photographers around New Zealand. He was totally respected. Maurice will be sorely missed by the PSNZ family. We send our deepest condolences to Maurice’s wife Dierdre, his family, and his many friends. Simon Woolf FPSNZ

Top pasture by Maurice F Moffat Hon PSNZ APSNZ which appeared in the first edition of Camera in New Zealand in 1967.

(CameraTalk featured Maurice’s photo biography in its SeptemberOctober 2016 issue. Ed.)

Chris Helliwell LPSNZ discusses

How to plan a nature shoot I WAS JUST starting out on my photography journey. Sitting at a club meeting, I listened to a speaker who talked about how he planned all the images he would take. My thinking was that, as a nature photographer, how can I plan a nature image? I didn’t think any more about planning my images for quite some time. Now, fast forward about six years - and I plan just about all my images. So, what changed and how do I plan a nature image? I used to just go out and see what subjects I could find and then photograph them. I was able to capture some good images. The tui image below is an example of this. I was out one day and stumbled across this tui feeding on the flax flowers, so I started to make some images of it feeding. When it flew to the next flax flower I was able to capture it in flight. I was very pleased with this image, but I did not intentionally put myself in a position to make this image. It just happened.

Image details - ISO 800, f2.8, 1/2000th sec, Canon 5D3 with Sigma 70-200 f2.8 There were many times when I would go out and not get any images, and I would become quite disappointed. To try and avoid this, I first started to target subjects. I would go out to target just kingfishers, dabchicks or kaka. In doing so I got to learn about my subjects. If I was after diving kingfisher images, I would need to be there either just before or after high tide. If it was kingfishers eating crabs then low tide was best. I also found out that the local kingfishers return to the inlet in June and stay and feed on crabs until they go off to breed in late November to early December. This does not mean that there are no kingfishers around from January to May but you might only see one or two in five hours, so your chances of getting the images you want are greatly reduced. Between June and November it is not uncommon to see 10 or more kingfishers at once. It is amazing what you will learn about your subjects if you take the time to study them.

As well as learning what time of the year that is best, I also worked out the best time of day to get the best light for that area. If I wanted images of the dabchicks then early morning is best. At this time of the day I can have nice soft light as well as some good reflections with the flat water. The image below was taken at 8:32am.

Image details - ISO 800, f8, 1/1000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 1.4x III I was finally learning that you could plan a nature image. So, what planning goes into an image now? The kingfishers have returned to the inlet, and I wanted to get some images of them diving into the water. I first looked up the tides to see when there was going to be a high tide around 9.00am. This would mean that by 9.30am the tide would be starting to go out and have the right amount of water in the inlet for the kingfishers to dive for crabs from a big tree on the edge of the inlet. If there is too much water then they will not dive; if the tide is out too far then the kingfishers move out onto the mud flats to find the crabs. At this time of day and in June the sun would be high enough to provide enough light for the high speeds required to capture a very fast moving object. If the high tide was in the afternoon the sun would be too low in the sky; it would be behind a hill and there would not be enough light on the water. On Wednesday the weather was fine and high tide was at 9.30am, so down to the inlet I went at about 8.45am. I wanted to get there early so that I could get into position with the sun behind me and give the kingfishers time to get used to me. I find that if I sit in one place, after about 30 minutes the kingfishers will learn that I am not a threat to them; they will then go about their business and not worry about me. When I arrived there were about 10 to 15 kingfishers around and at least 10 in one tree. I positioned myself with the sun behind me, the tree to my right and the inlet in front of me. This would mean that I could see the kingfishers fly out of the tree and towards the water. If they returned to the tree after diving into the water they would be flying towards me and this would give me the chance of capturing them with a crab in the mouth, just leaving the water and facing towards me.

Image details - ISO 2500, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III The above image shows the kingfishers waiting to spot a crab and dive in after it. With an 800mm lens I could only capture four of the kingfishers in one image; at the time I took this image I counted 12 kingfishers in this tree. I had put myself in the right position at the right time of day and tide. I now needed to use the right settings on my camera and lens. I set my camera to Manual mode with 1/4000th second, f8 and auto ISO. I had my 400mm lens and decided to use my 2x tele-converter to get a little more reach. I would lose a small degree of image quality by using the converter but I am happy with this. In effect I will have an 800mm lens. Right on queue at about 9.30am the diving began. When a kingfisher dives for food, it will fly to the food and about one metre above the water they will hover for about one second, then dive into the water. They will fly out of the water from the same spot that they dove into it. I have learned this by spending hundreds of hours watching and photographing them. The technique I use to try and get the images of the kingfisher leaving the water is to watch them fly out of the tree and then, when they hover above the water, I will try and focus on them. I will track them hovering and then going into and out of the water. When they are in the water I leave the focus spot on the centre of the ripples that have been made when they dove in. All this happens in about one to two seconds, so you need to be fast. I found with using what is effectively an 800mm lens and hand holding it, that I was not quick enough most of the time to get the kingfisher just leaving the water. I got more images with them just above the water and flying back to the tree. This article has been reproduced from Chris’s blog. You can find more of his adventures at www.nzexposed.co.nz

On the next three pages are the images I was able to capture; as you can see my planning paid off.

Image details - ISO 3200, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III I like the above image because of the wing position and that the kingfisher is still connected to the water as the splash is still covering part of its feet. The image below has the kingfisher coming in for a dive with its eyes firmly fixed on the crab.

Image details - ISO 3200, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III

Image details - ISO 4000, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III Not all dives are successful; this time the kingfisher emerges from the water without the crab. Even at 15 fps there was quite a lot of movement between the above two frames, even though they have been taken one after the other and in burst mode.

Image details - ISO 5000, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III

The image below shows the kingfisher flying away with the crab after a successful dive. Notice the eye. I have captured the nictitating membrane over the eye. This is used to cover the eyes to protect them when they hit the water in a dive (or maybe when they wink at you during a fly-by).

Image details - ISO 4000, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III My last image, which I probably like the most, from the 30 minutes or so of photography that morning, is of two kingfishers. Can you tell if this is a kingfisher begging for a feed or telling someone, “Move on - this is my stick”? To finish, I will go back to my original question. “Can you plan a nature image?” Well for me the answer is YES of course, and I get a much higher percentage of successful images when I do.

Image details - ISO 2500, f8, 1/4000th sec, Canon 1DXII with Canon EF 400mm f2.8L IS II USM + 2x III

Audio-visual notes by Trish McAuslan APSNZ AFIAP AAPS – JSMT Coordinator

JSMT THIS YEAR THE Jack Sprosen Memorial Trophy Competition will be organised by the Wanganui Camera Club. Entries will close at midnight on Monday 20 November 2017. If you entered a sequence into the JSMT last year or a previous year and it was not successful, you can change it if you wish and re-enter it this year. AVs entered into your club competition or the Tauranga AV Salon can be entered or you can put your thinking cap on and create a new sequence. You can enter two sequences if you wish.

Challenge 321 Congratulations to Gail Stent who came 6th out of 113 entrants. Challenge 321 is an international competition in which the maximum length of the AV is three minutes 21 seconds. The organising club has said that it will be running the competition again next year, so consider having a go.

Tauranga AV Salon It was great to see familiar names and to welcome new AV workers. This year there were 37 entrants from five countries, with a total of 67 programmes. The overall winner was Sally Hinton EFIAP PPSA MAPS from Australia with a story about the Red Wrens of Caba, an endangered species. The NZ Novice Award was won by Jane Mackay of North Shore with ‘Venezia Blu’.

Sally Hinton EFIAP PPSA MAPS won both the Documentary and the World of Nature categories. Theme was won by Marcel Batist AV-AFIAP from the Netherlands and Music, Poetry and Song was won by Luana Laubscher LPSSA AV-LPSSA from South Africa. PSNZ members who won Merit Awards were Gail Stent APSNZ, John Hodgson EFIAP/b AV-AFIAP FAPS AV-FAPS (3), Alistair McAuslan APSNZ AV-LAPS and Trish McAuslan APSNZ EFIAP AAPS (2). PSNZ members who received Acceptance Certificates were Bob McCree FPSNZ (3), Elizabeth Carruthers FPSNZ AFIAP, Jane Mackay, Newell Grenfell Hon PSNZ FPSNZ FNPSNZ(2), Steve Lloyd, Liz Hardley FPSNZ LRPS EFIAP/b, Mark Brimblecombe APSNZ, Helen McLeod APSNZ and Adèle Ashton APSNZ LRPS.

International competitions I have recently been asked how one finds out about overseas competitions. All AV Salons that are being run under FIAP are advertised on the FIAP website: https:// www.myfiap.net/patronages. It may take you a little while to find your way around this part of their website. There are a number of filters across the top of the page so under Salon Category choose AV Audio-visual and then click Apply. Some of the website pages are difficult to follow and some are in countries where the main language is not English. This may bring up other issues such as the possible need to include subtext in the language of that country. The next FIAP competition in an English speaking country is in South Africa, closing in March next year. If I hear about other competitions that may be of interest, I will advertise them in CameraTalk. AV Makers of South Africa are running an international themed competition (not FIAP) which closes on 4 November. This year the theme is ‘Life’. There are many definitions of ‘life’ on the internet. This one is from Google: “Life: the condition that distinguishes animals and plants from inorganic matter.”

This allows you to interpret the theme in a variety of ways. Either contact me or go to their website for details: https://goo.gl/sWvYI4 In conjunction with the 35th Irish National Federation’s National Audio-visual Championships, 2017, there will be an international section which is limited to one sequence per author, and there is no FIAP accreditation. This competition closes on 15 September. Contact me for more information.

Some thoughts from the Adelaide AV Fest The Adelaide AV Fest is an international competition, organised by the AV Club of South Australia. The judges were Howard Bagshaw (England) Alia Naughton and Keith Seidel (Australia). Successes in this competition count towards FIAP Awards. The competition was run over three days with a total of 142 sequences from 80 entrants in 13 different countries. Each sequence was shown only once and there was no discussion.

I thought that for many AVs, a spoken narrative was important in informing the viewer and maintaining their interest. Some AVs used text slides to tell the story but often I was so busy reading the text that I didn’t see the images. Not every AV needs to have a spoken narration but without it the story told by the images and any other audio needs to be strong. I noted the very high quality of the images used in these audio-visuals. The images were well taken, relevant to the story being told and well prepared in post-processing. I had a close look at the entrant list for Tauranga and it was noticeable that many of the entrants have also been very successful with still images. It is important that AV workers continue to improve their still image skills as well as the storytelling skills that an audio-visual requires.

The judges made notes, and I am sure they discussed them later, but they did not see the AV again. This made me aware of the importance of involving the viewer immediately and telling your story simply and clearly. In the Tauranga Salon we do have the opportunity for discussion after a sequence has been judged, and the judges also see the top sequences a second time. This allows some of the more obscure or thought-provoking ideas to be discussed, which is to the benefit of those authors. Some AVs may not be understood easily in international competition, particularly if they have to be viewed more than once for the whole message to be understood. This competition has a silent audience and I wondered just what that was. It was the opportunity for the public to watch the AVs as they were being judged. Because the judges left the room at the end of each judging session, any audience discussion during the breaks did not influence the judging process.

The judging venue with Elaine Ashton in the foreground and Alistair McAuslan in the distance

I have been aware for a long time that AV competitions in New Zealand were set up without any reference to international competitions, in particular our fiveminute limit. About sixty percent of the entries in the Adelaide AV Fest were under five minutes and many of the longer AVs were less than seven minutes. My conclusion was that five minutes is a bit limiting in the documentary category but otherwise our five minute limit works well. It forces us to focus on telling the story, because there isn’t time to waffle around. Trish McAuslan APSNZ EFIAP AAPS mcauslanav@gmail.co.nz

Out and about First solo photographic exhibition Fred Wotton APSNZ, a Life Member of the Wellington Photographic Society, held his first solo photographic exhibition at the Odlin Art Gallery, Lower Hutt, from 13 to 24 June. Exhibited were 25 colour panorama prints up to 1.5 metres in width of some magnificent landscapes. Almost 100 guests attended the opening night and more than 250 people visited on subsequence days. All photographs were taken on a 35mm rangefinder camera which Fred has been using for the past 56 years.

The photograph above, taken by Margaret Hobbs, shows Fred making a last minute check before the opening night.

Guy Needham’s exhibition – the Mentawai From 25 October to 12 November, Guy Needham will mount his third tribal exhibition at Studio 541, 541 Mt Eden Road, Auckland. The indigenous Mentawai people live in an island group 150km off the coast of Sumatra, Indonesia. Considered one of the planet’s most ancient tribes, today they are still found deep in the island jungle. In 2017 Guy Needham spent time with them, and this monochromatic exhibition is a testament to their simple way of life and pure sense of self, using contrast in a wider sense to echo the differences between their uncluttered lives and ours.Visit www.thementawai. com for more details. Guy Needham Photography www.guyneedham.com

Club news You can read more about Guy and the Mentawai people in issue 79 of D-Photo magazine.

If your club has information or events that it would like to share then email the details to Lindsay Stockbridge LPSNZ at dilinz@ actrix.co.nz

Competition winner! EACH YEAR THE Western Branch of the New Zealand Institute of Architects organises a photographic competition. Photographers living in Taranaki, Whanganui and Manawatu are eligible to enter, and their images must have been made in the same geographical region. This year’s theme was ‘Shelter Me’, and the winner of a $500 prize was PSNZ member Sandra Van der Lubbe with her image, Refuge from Reality.

When interviewed for CameraTalk Sandra said she found the church hard to photograph. “It sits right next to the main road at Upokongaro and power lines cross its front. I thought that the best vantage point would be from across the river. Luckily it was winter and I was able to find a spot where the church was visible through the willow branches.” In post-production Sandra likes to use black and white or sepia tones to show age and the passing of time. The Nik Silver Efex programme was used to achieve that aged look.

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Carolyn Elcock ANPSNZ reports on a ‘print circle reunion’ deep in Fiordland! WHEN I JOINED a new print circle in March this year, I never dreamed it would lead to a fun weekend at Gunn’s Camp in Fiordland. Dawn Patterson, from Invercargill, offered to organise the get-together and eleven photographers from different print circles met for the first time in the last weekend of June. Two of our group had travelled down from Orewa and Whanganui in the North Island. We arrived early on Friday afternoon to learn the road to Milford was closed at the turn off to Hollyford Valley due to snow. The caretakers of Gunn’s Camp were busy with tourists wanting hot drinks while waiting for the road to clear, but Reid had already stocked up the fuel and lit the DOC range in our cabin. When the rain eased off and the road was open but very icy, with lots of snow and waterfalls, we ventured out as far as the Homer Tunnel. Next morning the majority headed to Milford Sound while the weather was clear. The road wasn’t as icy, with a lot of snow washed away by rain. Keas greeted us at the tunnel and gave us lots of photo ops as they pranced over the top of the cars. Once through the tunnel there was no ice or snow on the road and we were ahead of the stream of buses we would see later. The tide was out at Milford and we ventured across the foreshore looking for a suitable foreground to Mitre Peak. After lunch and a quick trip to the boat harbour, with rain threatening, we headed back to the Homer Tunnel. While waiting there, the friendly keas checked that Dawn’s hair was attached to her head by trying to pluck a few strands.

missed. Our cabins were very warm with fuel regularly topped up by Reid. On Sunday some locals headed slowly home with lots of photo stops; meanwhile Dawn had hidden her car key from herself. In case it had been accidently packed up with the projector we chased them down before they made it to the main road. On our return the key had been found, but Dawn is likely to be teased for a while yet. The rest of the day was spent on Hollyford Valley road and around camp, chasing tomtits and fantails. Thanks Dawn for suggesting such a great weekend now to sort out the hundreds of photos!

Left to right: Barry Elcock, Chris Duggan APSNZ, Dawn Patterson, Mike Venz, Alan Ritchie LPSNZ, Carolyn Elcock ANPSNZ, Aneka Barritt, Lindsay Stockbridge LPSNZ, Lloyd Jenkins LPSNZ, Diana Andrews LPSNZ, Bob Smith

On Friday and Saturday nights we shared our photography in the new community centre at camp. The generator meant we could use a projector and laptops and charge camera batteries. The communal kitchen and large lounge area was warm and cosy with a large log burner - no internet but it wasn’t

The soapbox by Paul Whitham LPSNZ

Why do we judge in secret? WHEN YOU FIRST join a Camera Club you are likely to be told that through it you will improve your photography, and this is perfectly true if the club operates competitions or salons where you get feedback from the judge. But once you move above this level, then the reality is that you generally receive nothing back. In Salons, images are either accepted or rejected, and for those that are selected, a small number will achieve higher awards and others won’t. Generally the photographer will not receive any information about why an image scored the way it did. Making it even more confusing, the subjective nature of photography can mean that the same image gets honours in one event and not accepted in another.

The second excuse to me is a bunch of baloney but we won’t go there. In terms of the judges I can see a certain point; however, other organisations do have open judging and still manage to have robust discussions. The New Zealand Institute of Professional Photographers (NZIPP) assess their Iris Awards in the days prior to their annual convention in an open forum. In the last four years the NZIPP have taken it further and streamed the event. This year they took the process further and the judges were required to make a comment on every image. Given that over the three days 1,172 images were assessed in 13 categories, this was no mean feat. Previously where there was little difference in the marks amongst the five judges , that score was entered. Only those images that had wide differences that were discussed. The only judging that is done in secret is the selection of the finalist and winner in each category.

The question of “How can I improve my photography if I have no idea why I am getting the results that I am?” is extremely valid. The reason why that question occurs is that for the most part we judge all of our events in secret. Only the judges and a small number of helpers are privy to what goes on at selection day. With the honours application there is some feedback; however what is presented in the letters is only a snapshot of what was actually discussed. I hear two common reasons about why we judge in such a way. First, it allows the judges to have a free and frank discussion about the images in a confidential manner and second, it means that the results can be held secret until the organisers wish to release them.

Within the amateur world, the Royal Photographic Society assess their Licentiate and Associate honours levels in a fully open forum that anyone in the area can attend. It is only the Fellowship level that is not done in an open forum. So my question is, If other organisations can judge in open sessions, why do we not at least try it? I would be interested in others’ thoughts on this. Come across to the PSNZ Facebook group and share your thoughts. You can find the group at https://www.facebook.com/ groups/PSNZgroup/

Convention news PSNZ Central Regional Convention 29 September – 1 October 2017 in Stratford

Dare to do! Suggests Karen Lawton THE PSNZ CENTRAL Regional Convention ‘Discover the Forgotten World’ focuses participants on the wealth of knowledge and expertise of local photographers. What do we expect you to get out of attending, what stories will inspire you, challenge you, allow you to ‘dare to do’? The challenge of a photography project is one many of us contemplate, prevaricate on and often do not commit to. It is easy to find reasons why not to do something as challenging, yet ultimately rewarding as keynote speaker Tony Carter’s Ohura project. Take inspiration from the story behind the project which centred on photographing people living on the edge of society in small rural towns in the Mt Taranaki region. The enthusiasm that Tony brings to his work is one of the primary features the Central Regional Committee wants participants to embrace and to apply to their own photography. The Ohura project led to Tony’s first solo exhibition of the people of Ohura at Puke

Ariki Museum in New Plymouth in 2015. In turn, this led to him being invited to exhibit his Ohura images at two photo festivals in China in 2015 and 2016. This project is ongoing. As well as sharing the inspiration and the stories behind the images, attendees will learn from details of camera techniques to capture personality in portraits – both candid and posed – and how to find the right light on any day, regardless of variables like the weather. While Tony was always solidly committed to photography as a profession, the transformational story that Kevin Bone tells is inspirational. Not many of us have the faith and commitment (Kevin might say crazy stupidity) to shift professions midlife the way Kevin has done. Maybe pick up a camera as a hobby, but to totally change professional horses midstream requires a huge amount of bravery and commitment. Attendees will learn from this commitment. They will be inspired by the passion for visual imagery and story telling that is reflected in Kevin’s work.

Tony Carter GMNZIPP

Closer to home – in terms of history within PSNZ, not geographic proximity – keynote speakers Ron Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS and Newell Grenfell Hon PSNZ FPSNZ FNPSNZ will encourage attendees to question – to think – and to ask themselves why. Why they love creating images; what they can do with those images; and how to enable themselves to imagine and subsequently achieve exquisite imagery? More detail on these keynote presentations is provided in the next article in this issue of CameraTalk.

As with all regional conventions, the organising committee behind the Central in Stratford have worked hard to put together an inpsiring and varied programme which includes field trips, workshops and an early morning photo shoot. They are challenging participants to involve themselves in the place, the feel and the history of their region.

with Shona, he developed and now implement the very successful PSNZ Judge Accreditation Programme (JAP) workshops.

LPSNZ APSNZ FPSNZ

For photographers considering going for their Honours Awards next year there is a special presentation by Bruce Girdwood FPSNZ (Chairman of the Judge Accreditation Panel and Honours Board member) and Shona Jaray APSNZ (Judge Accreditation Panel) on Sunday afternoon. Bruce joined the PSNZ Honours Board this year; together

Shona and Bruce will present you with information that will empower you to be as prepared as possible to produce a portfolio or set worthy of Honours consideration. This is a unique opportunity to hear from and to ask questions of two influential PSNZ members whose aim it is to assist photographers aim higher â&#x20AC;&#x201C; to dare to do.

Registrations for the Central Regional Convention are now open and you can find more information and the registration form at http://central.photography.org.nz

The wait is almost over The 2017 edition of New Zealand Camera will be sent out to members and clubs in mid-September.

Top speakers secured for Central Regional: Karen Lawton reports TWO OF NEW Zealand’s most decorated amateur photographers will be centre stage at this year’s Central Regional Convention in Stratford, from 29 September to 1 October. Newell Grenfell Hon PSNZ FPSNZ FNPSNZ and Ron Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS have strings of letters after their names as testimony to their photographic achievements. Both are past presidents and life members of the Christchurch Photographic Society as well as life Newell Grenfell Hon PSNZ FPSNZ FNPSNZ members and Fellows of the Photographic Society of New Zealand. Most importantly, both are dedicated to sharing their knowledge and experience. Both Newell and Ron are highly approachable and will be available to attendees throughout the Convention.

Newell’s Saturday presentation will explain his passion for photojournalism. It will consider such questions as whether to ask subjects for permission before photographing and show the minimal gear he uses. Ron and Newell will both give workshop presentations on the Sunday. There will be a wealth of information available to attendees of these workshops. Over the past three years, Ron has spent 500 days in the USA, travelling 70,000km by RV. Ron will offer tips on travel photography and show how he has approached nature subjects, landscapes and creative photography while on the road. Newell’s workshop will consider the age-old question: “What can I do with my photographs?” He will talk about donating images, making books and calendars, creating audio-visuals (AVs) and other alternatives. Newell will suggest that every photographer should create at least one AV - and why - and provide some working guidelines to achieve this outcome. The Convention programme includes a choice of field trips and a banquet themed ‘Discover the Forgotten World’. Registrations can be made through the website: central.photography.org.nz

Newell and Ron will share the Friday night opening keynote presentation which is themed ‘Beginning and Winning’. Divulging practical hints and techniques, Newell will reveal what he calls his ’secret formula’ - half a dozen simple ways to add interest to photographs. Ron will explain how he sets up his camera to be ready to grab potential winning opportunities as they arise. In Ron’s solo presentation on Saturday morning, the subject will explore hunting for photographs with different lenses, from different angles, under different themes. Examples will be drawn from his extensive photography in New Zealand and abroad. Ron has won every major NZ photographic salon at least once and we will learn from his approach. Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS

Convention news PSNZ Southern Regional Convention 13–15 October 2017 in Nelson

Breaking the rules THE PROGRAMME FOR this event is designed to offer a photographically rewarding experience to all those who wish to attend. Keynote speaker Ken Ball will have copies of his latest book “SHE: a visual celebration of women” on sale at the convention. The book has just been published and he will explain at the convention the techniques he devised to produce the images as he refuses to use Photoshop. “Photoshop is too mechanical and predictable,” he told CameraTalk. “So, I conjured up ideas to not use the software but to better it with really original images. The question, ‘Is photography art?’ has been discussed over dinner tables for decades.

“To me, anything created from an original photographic image through Photoshop is NOT pure photographic art but is digitally created art. My work does not use Photoshop but is created by alternative, historic or innovative processes – or a combination of them. And I freely mix art tools (such as paint, crayon or pencil) to enhance my photographic prints.” Ken is now working on his 13th book “Serendipity: an exploration into possibility” which will form part of a boxed set collector’s edition with a CD of supporting relaxation music by award-winning Australian composer/performer Fiona Joy, poetry by noted author Candida Baker, and an original archival print from the book. It is due out in December. His website www.kenball.com.au has just been revised. Another keynote speaker, Wendy Verity, has experienced a spectacular rise in photography. Last year she won an emerging photographer award to attend a creative photography workshop in Auckland. During the sessions, she began teaching participants who needed extra support and this year she is one of four lecturers at the same creative workshop, to be held in Akaroa over Labour Weekend, a few days after the Nelson convention. She also has her inaugural exhibition titled “Inception” opening on Australia’s

Ken Ball Wendy Verity

Gold Coast in September, and her new website will be launched in August in time for her first exhibition. Her website is www.wendyverity.com. “When I began to use the camera creatively in 2014, I was instinctively and unthinkingly drawn to soft focus. I found a great peace in looking beyond and escaping from the linear and rigid structure of life,” she told CameraTalk. “In 2016, I was awarded an emerging photographer scholarship to attend and teach at the Pushing Boundaries Workshop held in Auckland, hosted by award-winning photographers, Ken Ball (www.kenball.com.au) Diane Costello LPSNZ (www.diane-d-costello-impressions.com) and Murray Noble (http://noble-art.co.nz).” “Behind the lens I find myself mentally and physically flowing into the spontaneous realms of macro and the more meticulous planning of in-camera multiple exposures. Behind the lens I constantly break all the rules!”

“My main inspiration over the last few years has been going back to creating in camera, rather than in postproduction. I find it liberating and inspiring to be open to whatever might come out of a particular technique/ way of shooting. It means that I don’t over-think things (which is refreshing as I admit I’m prone to this in life, in general); nor do I have to chase images around a screen after I’ve done a shoot.When I’m shooting, I tend to work with a concept, and a loose framework regarding what I would like to end up with, but the processes/lens I use make the results random and I’m never entirely sure what I’m going to get. It’s where the magic really does happen, and it’s totally inspired me to shoot more, and experiment more - even with people standing in front of me while I photograph them with my kooky techniques!” After listening to Esther, you’ll be inspired to create so keep an open mind!

Esther Bunning GMNZIPP will be talking about being open to ‘seeing’ - more than what is visually in front of you, or what you have in your mind’s eye. She believes the best results come from having an open mind. “As photographers, we tend to get caught up with how a photograph ‘should’ be, or what is on ‘trend’ or popular - when really, the medium has never been more open to being able to run with it in any direction.” She’s all about breaking the rules!

Esther Bunning GMNZIPP

In between these forays into different genres of photography will be our main field trip to the Wakefield Steam Museum, just a short distance from Richmond. Here we’ll have some Steam Punk models to add life and character to the many photographic opportunities to be found around this country museum of yesteryear. Your cameras will have plenty of use while you’re at this end of the South Island, so check that they’re in good working order before you come - or you might find you need to use that EFTPOS card at the trade stands mounted by Wellington Photographic Supplies and Sony. You might do that anyhow, looking for those much sought after extras. Test them on our Steam Punk models at the Wakefield Steam Museum or at the World of Wearable Art and the Boulder Bank sunrise trip! The Dine and Dance on the Saturday evening will have a Pink and Black theme, so your camera could be working overtime here also. We tested the caterers at a previous function so we know your appetite will be well catered for. The venue for this year’s event will be in the centre of Richmond which is 14km from Nelson. There’s good parking, several motels and a motor camp

within walking distance from the venue. Go to the “Accommodation” page of the Southern Regional Convention website for some guidance on where to stay. Stay a few extra days after the convention and relax at the beaches in Golden Bay, or wherever you choose, so you can have time to reflect on the wisdom and ideas shared by the four knowledgeable and experienced speakers we have lined up for the occasion. Registrations open on 4 August. Please visit http://southern.photography.org.nz.

Southern Regional Salon – open for entries We are now accepting entries for this year’s Southern Regional Salon. There are four categories: Open, Portrait, Nature and Photojournalism. You may enter prints or projected images. All Club members are welcome to enter but if you don’t live in the South Island then you must also attend the convention to qualify. Entrants should be making their final twinks to their masterpieces or finishing their presentations. Your images need to look their best, not just for the Selectors but also for the exhibition at the convention should your images receive the honour of being exhibited. Please visit http://southern.photography.org.nz for the online Entry Form and Rules.

Southern Regional interclub competition If your Club is entering this competition please visit http://southern.photography.org.nz for the online Entry Form and Rules. Entries close on 24 August – good luck!

Ken Ball

Esther Bunning GMNZIPP

Events & services Say ‘goodbye’ to KEN BALL…. Here’s your chance to say goodbye to Australian award-winning photographer Ken Ball who has been teaching in New Zealand for 20 years. You’ll revel in creativity and inspiraton with him and friends at his ‘retiring’ Pushing Boundaries Workshop in Akaroa this October. For a free workshop brochure email Ken directly at impressionsplus@hotmail.com or visit www.kenball.com.au

Services

Courier or storage boxes. Contact Sean Dick, sean@evokestudio.co.nz

Printcases for 16”x 20” prints. $75 plus post. Contact Jocelyn Barrett, the.barretts.jl@gmail.com

Club Scott Fowler APSNZ EFIAP PPSA Workshops For information on Scott’s courses, go to www.scoiwi.com/section828118.html Email details of services, upcoming photographic workshops, seminars and exhibitions to Lindsay Stockbridge LPSNZ at dilinz@actrix.co.nz

PSNZ member scoops top award THE SIGMA AMATEUR Photographer of the Year competition is New Zealand’s largest amateur photographic competition, and is promoted via the country’s largest-selling photographic print title, D-Photo magazine. 2017’s contest received a record 9337 submissions across its 11 categories. With the support of premier sponsor Sigma, and category sponsors DJI, Epson, Ilford, Nikon, Nikon Keymission, Profoto, Progear, SAE Institute, and Tamron, this year’s prize pool was the largest the competition has ever seen — nearly $19,000 worth of prizes. Including both latest-release and long-loved gear from all the best photographic brands, the prizes up for grabs were enough to make any photographer’s mouth water. Auckland photographer and PSNZ member, Sarah Caldwell, took out the coveted title of Grand Prizewinner, and was also awarded first-place within the Monochrome category. Sarah will receive a SD Quattro Camera complete with a 30mm f/1.4 lens, $2400 of assorted Sigma lenses of her choice, a Vanguard Veo 265 carbon fibre tripod, and a Lume Cube.

D-Photo’s panel of industry leaders — Brett Stanley, Charles Howells, Katherine Williams FNZIPP, Kaye Davis GMNZIPP, Mark Gee, Michael Miller, Richard Wood GMNZIPP, Peter Robertson LPSNZ, and Simon Devitt — undertook the tough task of judging and selecting the winners. The very high calibre of entries into this year’s contest prove that advanced photographic technologies and techniques, such as focus stacking, aerial imaging, and time-lapse, are no longer reserved for the pros. All 33 of the competitions first-, second-, and thirdplace images are currently on display at Auckland’s Metro Gallery. Located at 222 Hobson Street, the photographs are available to view from 7am–4pm Monday to Sunday throughout August.

Photos of the presentation reception provided by D-Photo

Photographer- Adam Croy

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Member profile: Sarah Caldwell

Sigma D-Photo amateur photographer of the year PSNZ MEMBER SARAH Caldwell was recently announced as the winner of the Sigma D-Photo Amateur Photographer of the Year competition for her image, Houston Main Street Metro. Sarah describes the making of her image. “I had a stop in Houston, went out looking for buildings to photograph and wandered down the Main Street in downtown Houston. I came across the short canal-like water feature that covers a block; there was no wind and as I love reflections as much as buildings, it was great to be able to combine the two. Then a train came along - so that was a bonus.The canal is right in the middle of the street with the train tracks on either side and a single lane for vehicles next to the footpath. I stopped in the middle, where there was a pedestrian crossing, lay down and held my camera low over the edge of the canal until it was almost touching the water.”

Sarah’s aviation career (as an airline Captain) takes her to many destinations around the world. In turn, this offers her the opportunity to indulge her passion for architectural photography. Form, lines, shape and a love of symmetry guide her current photographic passion. The second image featured here, of the Natural History Museum in London, won Sarah the Won Voubs - VIPA Architectural Photographer of The Year 2016. Again, Sarah describes the process of capturing the image. “On a London trip, never having been to the Natural History Museum before, I decided it was time to go. A little research online allowed me to work out the less popular times (fewer visitors). I set off later in the afternoon, arriving about 90 minutes before closing. I made various images throughout the Museum and ended up as high as I could go to get my version of an image I had seen on

Houston Main Street Metro by Sarah Caldwell

Instagram. I waited patiently until people moved away from the foreground balcony where I was positioned to hide the ground floor that had quite a few people still milling about. As no tripods were allowed, I used the rounded handrail to hold my camera on and it was central, so I got the symmetry I love.” To be able to achieve the depth and expansiveness shown in these images, Sarah almost exclusively uses an ultra-wide angle lens. She started with the Sony 1635mm; finding that this did not give her the outcome sought for interior images, Sarah bought a Voigtlander 15mm. As many public building interiors do not allow the use of tripods, a recently purchased Venus Optics Laowa 12mm f/2.8 Zero D has become her preferred lens. The image Riding the Metro was awarded a Gold Medal at the PSNZ National Exhibition in 2017, along with the George Chance Trophy for Best Colour Print. Sarah tells us, “This was a quick, random shot I grabbed just as I boarded the Metro before it left the station.

It was mid-afternoon so there were not very many people on board. I was very happy that I got the image centred in my rush to shoot it unobtrusively. I wanted a darker look to it and desaturated some channels to remove colours I didn’t want. After processing in LR and then with the single image I used a preset from Aurora HDR 2017 that I altered to suit. A latecomer to the photographic genre, Sarah has been very diligent about upskilling to create knowledge that allows her to bring her artistic expressions to life. She has attended numerous workshops, both in NZ and overseas. The presenters (‘artists‘ to use Sarah’s term) have “all been a wonderful influence and still are, on my growth as an artist, as have my local camera club, Auckland Photographic Society, and my photography friends.” We wish Sarah well as she aims to “shoot more, have fun with it and continue to develop and refine my vision”.

Riding the Metro by Sarah Caldwell

Natural History Museum by Sarah Caldwell

Naturally Dunedin – next April! WOULD YOU LIKE to photograph an albatross? How about a takahe? What about walking through a hillside tunnel to photograph the sunrise on a secluded beach? Step back in time and photograph old buildings that are not made of concrete and glass? Get lost down deserted alleyways? Stand atop the turret of New Zealand’s only castle? Then Naturally Dunedin is for you! We will showcase amazing photographic opportunities along with the opportunity to expand knowledge and horizons through the talented line-up of presenters.

Full details of speakers and field trips will be made available via the convention website in due course: www.naturallydunedin.co.nz

The Dunedin Photographic Society is delighted to be hosting the 66th PSNZ National Convention from 19 to 22 April 2018. The convention will be held at the Dunedin Centre, located in the Octagon at the heart of the city and literally steps away from a number of accommodation options.

Member profile:

John Burford APSNZ JOHN WATCHED HIS cousin printing a photo in the corner of his family garage and – at 13 years of age – he was hooked.

He attended assorted PSNZ conventions after joining the Society in 1965 before that year’s Queenstown convention. He was fortunate to become friends with and learn from legends of NZ photography including Fred Bowron, Len Casbolt, Matheson Beaumont, Brian Brake and Roger Brownsey. John was also Membership Director on PSNZ Council for a couple of years but gave this assignment away when a better offer appeared and he left New Zealand.

A year or so later John had saved enough money from holiday jobs to buy an Agfa Isolette roll film camera – and he still has it! Soon after, an enlarger and associated bits and pieces arrived, and his mother had to seek permission to use her own laundry and remove the blackout screens to do so. John joined the New Plymouth Camera Club while he was still at high school and later, while at Otago University, he was a member of the OU Camera Club - really because this gave him access to a wellequipped darkroom. Monochrome prints from those days have resisted fading to today – good fixer they used back then. Early in 1964 John and his young family moved to Greymouth where he became one of the Coast’s few dentists. A mere couple of months later he was elected President of the Greymouth Camera Club, a position he held until he escaped from Greymouth to the Canadian Arctic in 1974. During that time, the club prospered and grew and, at different times, hosted a couple of Regional Conventions including one where PSNZ President Vonnie Cave braved a West Coast thunderstorm to get the Ultimate Image and ended up looking more like a drowned rat than the dignified lady she is. Through those 10 years, John gained experience judging competitions and mentoring local photographers.

In August 1974 John and his family departed Greymouth to spend two years in arctic Canada where John was a dentist in Yellowknife and spent twothirds of his time travelling the region (flying over an area three times the size of New Zealand and totalling more than 24,000km by bush plane) and treating the Indians of the Mackenzie Valley and the Inuit of the Arctic North. He assembled a large collection of 35mm images during these travels into remote and inspiring communities and showed programmes of his adventures when he was the Principal Speaker at the PSNZ Convention in Blenheim after his return to New Zealand in 1977. Back in Greymouth, John looked for photo books of the West Coast to send to Canadian friends. There weren’t any at that time, so John talked to Whitcoulls and in 1981 he published his first photo book, ‘The Coast and the Coasters’. This book sold out (although

At full steam by John Burford APSNZ

it’s still occasionally available on Trade Me) and Whitcoulls persuaded John to write, or photograph, a second book, ‘John Burford’s West Coast’. This book had a soft cover, and in time the binding failed and the book sank and disappeared. The images in this second book were taken over the six winter months between John agreeing to produce the book and his departure back to Canada for a second attempt at experiencing frostbite on his shutter release. When John returned to New Zealand in 1990 he sold his practice in Greymouth and ‘retired’ to a suburban dental practice in Auckland. He joined the North Shore Photographic Society, entered a few competitions (they are pretty serious about that stuff on the Shore) and joined a photo study group hosted by Ron FitzWilliams and later Breen Porter. Along the way John has judged at assorted Auckland clubs, lectured on things photographic, and been the MC for one National and four Regional conventions. For a period in the 1970s and 80s John entered international salons during the ‘colour slide’ era. He accumulated about 140 Acceptances in Salons around the world, with a Gold Medal in an Italian Salon for an image of a steam train taken somewhere in Southland. He was a ‘Two Star Exhibitor’ of the Photographic Society of America before he got sick of this stuff and

gave it up. John still enters the occasional Salon and has been known to win a medal or two. Many of his images over the past few years have been taken on African safaris, adventures with Elverie in their truck and caravan in Australia, or during ship cruises to the far corners of the globe. Somewhere in the 1990s, John was awarded his APSNZ and he was a surprised recipient of a PSNZ Service Medal at the Invercargill Convention in 2012. It’s probably not unexpected that, with all this camera stuff going on in the Burford home, one of his children would also take on photography as an addiction. John’s daughter Melanie is the only New Zealand photographer to be awarded a Pulitzer Prize for her images following Hurricane Katrina while she was a photojournalist with the Dallas Morning News. Although he is almost as old as Methuselah, John continues to work, but his hours just don’t fit in with North Shore club meetings at this time. He sits at home and ponders on how photographic creativity has been overtaken by computer technology and he wonders when Photographic Salons will become Photoshopic Salons. He does not find this to be a stimulating contemplation, so he scrutinises the 41,000 images in his computer hard drive and shuffles off into the sunset.

No communication by John Burford APSNZ

Trenna Packer Salver

Murry Cave FPSNZ FNPSNZ, PSNZ Immediate Past President and Trenna Packer convenor, reports on this year’s competition. THE TRENNA PACKER Salver is the only salon dedicated to nature photography in New Zealand and is hosted by the Nature Photography Society of New Zealand. The rules are pretty simple; any club can enter and should submit a set showing diversity and coherence. This has been a difficult concept for some clubs to grasp but it means that the judges are asked to consider the range of subject matter as well as how the set hangs together. Thus a set that comprised all fungi or all birds may show coherence but not diversity and will be judged accordingly. Coherence is achieved by including images with a similar tonal balance and preferably the same orientation and size of images, rather than coherence being achieved by having similar subject matter. Images that meet the PSNZ New Zealand nature definition are eligible. Awards are given to the top three clubs as well as to a number of individual images worthy of special recognition. The judge is selected by the convenor on the basis of being a skilled nature photographer with the ability to impartially assess the sets. The position of judge normally rotates between North and South Islands but is limited by the relatively small number of suitably qualified nature judges. This year the judge was Geoff Beals APSNZ of Auckland. Geoff made a sterling job of assessing the sets, with of course no idea which club set is which before the presentation night. As is always the case, the contest was hard and it was a close call between the top sets.

Geoff’s comments on the overall salon follow: “It was very pleasing this year to see a generally high standard of image quality in the entered sets. Diversity is a requirement of the competition, and was mostly well handled, but a few sets included too many of a particular species. In my opinion, more than two birds in a set of six, for example, showed diminished diversity. Some of the more common individual image weaknesses included a lack of sharpness, over-sharpening, and too much contrast. That said, there were some outstanding images on show, and it has been an absolute pleasure to see and assess this wonderful collection of the best of New Zealand nature.” Geoff noted that the winning set was very strong, with image 4 being the only slightly weak image with too much contrast. Diversity is also very good in this set, with images 1 and 6 opening and closing the set excellently. The set also flows well. This was one of the strongest sets. The winning set was submitted by the Nature Photographic Society of New Zealand. Second was Christchurch Photographic Society while third was the Kapiti Coast Photographic Society which Geoff has noticed as one of the up and coming clubs for nature in recent years. Six individual awards were made, all considered equally. Congratulations to Craig Martin of Motueka, Gary Stowell LPSNZ of Buller, Carolyn Hope APSNZ of Marlbough, and Rob Lawrence and Bevan Tulett FPSNZ of NPSNZ. The Trenna Packer convenor for 2018 is Carolyn Elcock ANPSNZ.

Ist: Nature Photographic Society of New Zealand

The team that selected the winning set, from left Carl Thompson FPSNZ FNPSNZ, Jane Coulter APSNZ, Bevan Tulett FPSNZ, judge Geoff Beals APSNZ and club president Remco Baars

2nd Christchurch Photographic Society

3rd: Kapiti Coast Photographic Society

Trenna Packer Salver - individual honours

New Zealand Sealion by Craig Martin

Amanita australis by Gary Stowell LPSNZ

Trenna Packer Salver - individual honours

Australian Harrier Circus approximans by Bevan Tulett FPSNZ

Praying Mantis Orthodera novazealandiae by Rob Lawrence

Marsh Crake by Craig Martin

New Zealand Mountain Daisy Celmisia sp, by Carolyn Hope APSNZ

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Time is running out ... ... for preparing your entries for the

Nelson National Triptych Salon  Two sections - Open Prints and Open Digitally Projected Images  A new special award for the triptych which best depicts a well known phrase or saying of the entrant's choice  Building a triptych is not as difficult as might be imagined - a triptych print may be simply three photos pasted on a stiff card  For guidance on building a digital triptych either with or without using Photoshop please see :http://www.nelsoncameraclub.co.nz/constructing-a-triptych-2/  The Salon is open for entries now and closes at 10.00pm on Thursday August 31  For full details, including the Salon entry form, please see :http://www.nelsoncameraclub.co.nz/national-triptych-salon-2/

North Shore National Salon of Photography THE NORTH SHORE Salon is now in its 23rd year and continues to attract entries from the length and breadth of New Zealand, and from abroad. The bar is set high for this prestigious event, and achieving an Acceptance carries serious bragging rights, and snagging a Highly Commended or Honours will set you apart as a photographer. The ultimate accolade you can aim to achieve is to receive a medal to add to your trophy cabinet. 2017 introduced an exciting change to the legacy of the salon. They were thrilled to announce that for the first time it was part of the Auckland Festival of Photography which created an international stage for showcasing images to a diverse and growing viewership. Being part of this iconic event places the salon on a global stage, and the accepted photographs were appreciated by a wider audience. Read more about the festival at www.photographyfestival.org.nz. The salon again had the honour of six fine judges, bringing the combined weight of their experience and knowledge of photography and art to bear on the 2169 images submitted by 245 entrants. The entries stacked up as follows: 202 open prints, 93 impressionist prints, 142 landscape prints, 140 people

prints, 688 open digital, 300 abstract digital, 256 action digital and 339 street digital. With a significant change to the entry process by replacing the pay per category with a pay per image system, the entry numbers were almost the same as in the previous year. Our esteemed panel of judges included a number of specialists in their field. Judging day was once again an exciting event to witness, producing many heated discussions before the final selection of 456 images were announced as accepted into the 2017 North Shore Salon. To all the photographers that received an acceptance into the salon, you’ve earned the bragging rights; to the entrants who received a highly commended and honours, well done, you managed to stand out from the crowd; to the medal winners we reward you with an additional accolade for your trophy cabinet. Let your success be the springboard that propels you to even greater heights in your photographic endeavours. Congratulations to Carolina Dutruel APSNZ for her image, “Rite of Passage”, the winner of the Salon Trophy 2017. Well done on your immersive and compelling image.

The judging panel Desmond Burdon, Megan Jenkinson, Harry Janssen GMNZIPP, Eva Polak LPSNZ, Mike Hollman & Diane Costello LPSNZ

Chairman John Botton would like to thank the salon committee, volunteers and sponsors who continue to invest their valuable time and effort in making the North Shore National Salon of Photography such a success. Without your selfless contribution, there would be no salon.They look forward to seeing more excellent images in next yearâ&#x20AC;&#x2122;s salon.

You can see Carolinaâ&#x20AC;&#x2122;s image on the front cover. To view the other images go to http:// www.northshoresalon.co.nz

The judging day volunteers

Carolina Dutruel APSNZ receives her salon trophy from John Botton FPSNZ

Audiovisual judge accreditation IN THE APRIL/MAY 2017 edition of CameraTalk, Trish McAuslan outlined the proposal to add PSNZ Accreditation in AV to the PSNZ Accredited Judge categories. The following people are already PSNZ Accredited Judges in either the Open or Nature Category, or in both. They are now PSNZ Accredited Judges for AV.

The following people are not currently PSNZ Accredited Judges and are now PSNZ Accredited Judges for AV only. Bruce Burgess FPSNZ Gail Stent APSNZ Elizabeth Carruthers FPSNZ AFIAP

Newell Grenfell Hon PSNZ FPSNZ FNPSNZ

John Hodgson EFIAP/b AV-AFIAP FAPS AV-FAPS ESFIAP Hon FAPS

Paul Byrne APSNZ ARPS AFIAP

Matt Leamy LPSNZ

Aliah Jan FPSNZ AFIAP Trish McAuslan APSNZ EFIAP AAPS

Congratulations to you all.

Alistair McAuslan APSNZ AV-LAPS

Shona Jaray APSNZ

The last image

The crab gets away by Chris Helliwell LPSNZ