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 Convention Special 2018
Editor’s corner ANOTHER NATIONAL CONVENTION has come and gone, and in this issue you’ll discover something about the wonderful four days in Dunedin, along with a glimpse of the presentations, field trips and social activities.
PRESIDENT Moira Blincoe LPSNZ t. 09 379 7021 e: president@photography.org.nz
VICE-PRESIDENT
Karen Lawton t. 021 143 7764 e. vicepresident@photography.org.nz
TREASURER David Knightley PO Box 99470, Newmarket, Auckland 1149 e. treasurer@photography.org.nz
SECRETARY Patrice Nilsen 8 Raroa Terrace, Tawa, Wellington 5028 t. 04 232 1565 e. secretary@photography.org.nz
EDITOR, ADVERTISING & LAYOUT 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
PSNZ conventions, at both national and regional levels, offer many opportunities for enjoyment and learning – not to mention the Canon National Exhibition and the chance to view winning entries and honours sets, both digital and mounted prints. Dunedin did themselves and us proud. The Convention Organising Committee deserves our heartfelt thanks and hopefully some time for relaxation and photography in the near future. A few weeks ago I suggested to Paul Whitham LPSNZ that he and I swap titles. He would become the editor and I would be the subeditor. Little would change in terms of workload, except that from now on Paul will have the added task of writing an editorial. Paul does an amazing job of sourcing articles and illustrations, deciding on major topics for each issue, and looking after all the design and production work. Council has approved the change, and Paul and I will continue our work for CameraTalk – with different titles!
CAMERATALK DEADLINE
The next CameraTalk deadline is 1 June 2018
Lindsay Stockbridge LPSNZ
Email your contributions to the Editor at his email address. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned. The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ.
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On the cover Buller’s mollymawk by Carol Molineux APSNZ captured on the Monarch Cruise fieldtrip
A toast to the haggis. Image by Ian Thomson FPSNZ
In this issue PSNZ Honours
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PSNZ Service Awards
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Honours Board Report
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Convention review
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Are conventions still relevant?
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Profile: Moira Blincoe
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National Exhibition Special - Golds
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- Silvers
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- Bronze
63
- Honours
75
Coming up
86
4 Nations
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Image by Tony Gorham LPSNZ
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PSNZ Honours awards THE PSNZ HONOURS Board was delighted to award photographic distinctions to the following members in the 2018 Honours Awards. Congratulations to you all on your outstanding achievements.
LICENTIATE Noelle Bennett, Chris Blincoe, Bas Cuthbert, Ita Daniels, Jennifer Dowling, Timothy Edwards, Caroline Foster, Tony Gorham, Basil Hooper, Jill Jackson, Simone Jackson, Penny Kennedy, Jenny Lovering, Anna Mandeno, Gail Orgias, Kathy Richards, Sue Smith and Michelle Usher.
ASSOCIATESHIP Carol Anderson, Kate Anderson, Sarah Caldwell, Kevin Dickinson, Kim Falconer, Stephanie Forrester, Toya Heatley, Marg Jorsensen, Rebecca MacDonald, Carol Molineux, Sue Riach, Michael Venz, Brett Walter and Sheryl Williams
FELLOWSHIP Paul Byrne, Helen McLeod and David Smith
Licentiates - image by Simone Jackson LSPNZ
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Associates - image by Simone Jackson LSPNZ
Fellows - image by Simone Jackson LSPNZ
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PSNZ service awards 2018 PSNZ Service Medal
Graham Dainty FPSNZ Born in Invercargill in 1962, a Southern Man through and through, Graham Dainty grew up in an art-rich environment where his father was a gifted painter and artist in most mediums. Based in Te Anau since 1985 where he is inspired by the environment around him, Graham started taking photography seriously in 1989 when he won the NZ Agfa / Listener photo competition and then began collecting Honourable Mentions, Gold Medals and the like in national salons and competitions. He has been a member of the Southland Photographic Society for more than 25 years and in 2016 Graham was appointed Patron of this club. In 2002 Graham was awarded an Associateship of the Photographic Society of NZ, then gained his Fellowship two years later in 2004. Over the years Graham has attended many photographic courses and been inspired and educated by some outstanding tutors: Richard Poole on Portraiture, Matheson Beaumont on the Landscape and Eddie Soloway on ‘The Natural Eye’,
and many others including Freeman Patterson, Tony Bridge and Sally Mason. While he describes himself as a passionate landscape photographer, his pictures are constantly evolving and he enjoys photographing all things from portraits to motor sport and still loves the thrill of pushing the button. He has had images published in magazines in Europe, America, Australia and New Zealand, and has been profiled as a photographer in Australia and New Zealand (D-Photo). His images have been used extensively promoting Otago, Southland and Fiordland. Graham’s contribution to the Photographic Society of New Zealand and to photography in general at a National level is widely known, and he has always given freely of his time at club level, helping
photographers grow. He is always willing to share his photographic knowledge and to speak at meetings on a range of topics and has often served as a judge for local clubs, Interclub competitions, and Regional Salons and he provides services to many South Island clubs as a workshop facilitator. Last year he organised the judging for the Laurie Thomas Landscape competition. Graham recently completed nine years’ service to the Society on the Honours Board, the last seven as Chairman, guiding the Board with safe and steady hands through some challenging times. The Photographic Society of New Zealand is delighted to award a Service Medal to Graham Dainty, FPSNZ.
John Boyd Hon FPSNZ Hon PSNZ APSNZ presents Graham with his medal. image by Simone Jackson LSPNZ
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Emma & William McPherson Award
D-Photo
The Emma & William McPherson Award (i) This award is made to the club, society, individual or individuals who in the opinion of Council has, or have, helped most to foster the interest of amateur photography in New Zealand over the previous 12 months. D-Photo is New Zealand’s number one photography magazine, helping photographers get to grips with their cameras and use them more creatively. By providing quality how-to features, product reviews and inspirational pictures, the magazine gives its loyal and ever-increasing subscriber base the information and confidence they need to embrace digital camera technology and make the art and craft of photography part of their everyday lives.
photographers. From founding editor Adrian Hatwell through Lara Wyatt and more recently Rebecca Frogley D-Photo has strengthened its relationship with the Photographic Society of New Zealand by shifting its content focus towards the our members’ areas of interest and featuring a range of emerging and established photographers and affiliated clubs. A collection of these Club profiles can be found on the D-Photo website.
platform for members to get a wider profile for their work. As New Zealand’s leading photographic media channel, D-Photo is well positioned to provide this role, and we look forward to strengthening this partnership in the years to come. The Photographic Society of New Zealand is delighted to award the Emma & William McPherson Award for 2018 to the team at D-Photo Magazine, and calls on Dave Burns, D-Photo Sales Manager, to accept the Award on behalf of the team.
Heading into 2018, D-Photo’s feature content is being led once again by long-term Features Editor Adrian Hatwell, and the team look forward to continuing to develop the relationship with Photographic Society of New Zealand by offering a
Parkside Media published the first issue of D-Photo in mid2004, and has now published 83 issues to April 2018. D-Photo Magazine is a valued supporter and media partner of the Photographic Society of New Zealand. The magazine goes out to over 5,500 subscribers bi-monthly, delivering a quality source of photography tutorials, news and reviews while showcasing some of our best John Boyd presents Dave Burns with the award. - image by Simone Jackson LSPNZ
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Honours report on 2018 submissions by Bruce Burgess FPSNZ Honours Board Chairman
THE HONOURS BOARD met in Nelson during March 2018 where 87 applications were assessed; 34 Licentiate, 43 Associate and 10 Fellowship. Overall, there were 47 print portfolio submissions (51% successful) and 40 digital submissions (28% successful). The success rate for Licentiate prints was steady on 68%, but digital success rate fell to 33% (compared to 54% in the previous year).
inferior layout, or inconsistent tonal quality between successive images. Some applicants presented a balanced layout of thumbnails as though it was a print layout and used that as the projection order with the result that there was absolutely no flow image to image when the portfolio was screened. The thumbnails are purely to enable the Board to identify any images they want to further review.
Although the success rate for Associate prints was up slightly to 38% (compared to last year’s 35%), and Associate digital pass rate increased to 27% (compared to last year’s 17%), the overall Associate pass rate for both categories of 33% is still disappointing (previous year 24%).
It appeared that many of the failed sets were not well planned; maybe being a symptom of leaving their submission too late before the shipment deadline or maybe just delving into their image archives in order to select a variety of random images and tossing them together without much thought.
There are three new Fellows this year, all gained with print portfolios, being 43% of the seven print submissions (last year 18%). The three Fellowship digital entries were unsuccessful.
It is a probability that the majority of the successful Associate sets started with a blank canvas and were designed from the outset to display a range of skills and artistry in both image and portfolio presentation.
The Board considers that the reason for higher success in prints compared to digital submissions was due to the extra investment in the thought-process and pre-planning, plus extra effort spent on the image making quality and attention to detail in the final presentation. Because print sets are displayed physically, applicants were more aware of the careful visual design required for their layouts in order to flow in rows that were visually pleasing.
To sum up, it is important to understand what sort of portfolio is required to succeed.
In contrast, many digital portfolios seem to have poor image selection, inconsistent quality of images, technical problems, 8
A Licentiate is expected to show a high level of competence in the craft of photography.
Attendees ponder the honours sets. Photo taken by Ian Thomson FPSNZ
An Associate must go further in displaying not only craftsmanship, but also artistry. In Nature also, diversity is recommended to show broad technical competence, plus an appreciation of what is necessary in each single photograph to convey information about the subject, its environment and/ or behaviour. At Fellowship level, with broad proficiency of craft proven through achievement of the Associateship, applicants are free to more narrowly explore a subject, technique or genre, and in doing so display their unique style. Honours Board member Bruce Girdwood FPSNZ has expressed it thus: “The role of the Honours Board is to give effect to the PSNZ objective through the distinctions it awards. We are often asked to provide prescriptive guidelines to clarify the requirements of each distinction. Because the PSNZ objective is clear that we are to “promote … art” and because art is born out of self-expression, rather than prescription by a governing body, it is counter productive to prescribe requirements in any other form than broad guidelines within which each individual can express their unique creativity. To do otherwise would be to stifle creativity.” “The Honours Board promotes a framework within which to demonstrate photographic development through: • A portfolio which demonstrates your ability to present a coherent body of photographic work • Craftmanship that demonstrates your ability to use your equipment and photographic techniques, demonstrating your competency in photography • Artistry that demonstrates your ability to express yourself through your photography.”
“One way to think about this framework is as follows: Craft is the ability to use your tools. Art is the ability to use your tools to uniquely express yourself. I believe the Honours system is well designed to achieve the PSNZ objectives: • Licentiateship is all about basic craft (I can use a range of equipment in a range of situations and conditions to make photographs that are competent but don’t necessarily say a lot about me) • Associateship is all about advanced craft (I can use my camera to apply advanced techniques to show more than craft - I am starting to be an artisan with general skills; I am still exploring who I am through my photography) • Fellowship (I have mastered my craft and can use it to express myself uniquely; I am an artisan, an artist, I have my own style)” “Whether you use a theme or a diverse set of images to achieve these outcomes is entirely up to you, as long as you demonstrate the key requirements of the distinction you are seeking. The more imaginative and creative you are in doing this the more exciting it is for the development of your own skills and for photography in general. We are not in the business of cloning a particular brand of photography.” The closing date for next year’s submissions is 28 February 2019. Full details are available on the PSNZ website including criteria, forms, and examples. https://photography.org.nz/honours/
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The Dunedin convention was heavily built around the natural beauty of the area. Therefore we asked participants to comment on their experiences.
Toya Heatley APSNZ on the Orokonui Ecosanctuary Fieldtrip
I WAS REALLY looking forward to this fieldtrip as it was somewhere I had not been before and there were birds there that I had not photographed before. Our guide on the bus gave us lots of advice on where to go within the ecosanctuary and on arrival the staff also briefed us on the places to go as well as providing us with maps.
trying to empty the droplets before they fell. It became a challenge to capture the birds with the droplets, and then with their tongues actually in the droplets.
I prefer to be away from the crowds when I am photographing birds, so went in the opposite direction to the rest of the photographers on the trip. Admittedly I might have missed out on the fernbirds and some other species that I have not yet photographed, but it worked for me. I found a lovely little South Island tomtit that was happy to pose for me. It stayed around for about 10 minutes jumping from tree to tree before disappearing back into the bush. I wandered around some of the other tracks where I found the South Island kaka but eventually went back to that first spot where the tomtit was.
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This time it was the tui and the bellbird putting on the show at a feeder that was constantly dripping sugar water. I was amused at how they were
Bellbird by Toya Heatley
I really enjoyed the trip and could happily have spent the whole day there. I will do my best to get back there again sometime in the future. I would like to thank the Convention team for
putting on this fieldtrip as it was one of the highlights for me.
Tomtit by Toya Heatley
Landscape by Moira Blincoe LPSNZ Kaka by Vivienne Baldwin LPSNZ
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Lynn Fothergill LPSNZ hones her nature photography skills - Orokonui Ecosanctuary and the Monarch cruise
IT HAD BEEN a while since I had had the opportunity to hone my nature shooting skills, and I was therefore really excited to attend both of the field trips I had selected Orokonui Ecosanctuary and the trip on the Otago harbour with Monarch Cruises. Orokonui did not disappoint and, for me, the knowledge of local expert Paul Sorrell made the whole experience more worthwhile. Rather than bumbling along trying to find where each species was likely to be seen, tagging along with Paul, who told us he visits Orokonui weekly, meant we were able to quickly spot and capture a range of birds. Highlights for me were seeing the takahe, tracking a playful piwakawaka and my favourite - capturing several good frames of the little South Island robin Paul managed to charm out of the bushes. A quick review on the back of my camera after seeing that little guy and I was replete; I knew I would go home from the trip satisfied.
Piwakawaka by Lynn Fothergill
I had, as asked to prior to the Convention, swapped around my Friday and Saturday field trips, and was a little concerned that the forecast the night before our Saturday Monarch trip was not looking good; however we could not have had better conditions. Again expert advice, this time from Craig McKenzie and the crew of the MV Monarch, made the experience so much richer. I was blown away by the amount of wildlife we saw without, to my knowledge, any unnatural means of attraction, which had been a concern expressed prior to the Convention. Out on the ocean, seeing several different albatross species was obviously so special, but we also saw giant petrels, little blue penguins and white-fronted terns to
Takahe by Lynn Fothergill
Albatros by Lynn Fothergill
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name a few. I was impressed with how the boat quietly sidled up to groups of birds, stayed for a short time, only then respectfully backed off. We had plenty of time to get amazing shots and I would love to go back again and have another crack at looking at the birds differently, as opposed to just snapping off a run of shots because I was so excited to see so many albatrosses… Inside the harbour and around Taiaroa Head we were treated to seeing fur seals of all ages, Otago shag, grey spotted shag and a reef heron amongst others. On our return we were ushered in by three Hectors dolphins. What a treat! Although I didn’t manage a single sharp shot (too close or too excited?), just watching them ride the crest of the boat was beautiful.
Shags by Lynn Fothergill
In addition to the fabulous photography opportunities, an extra bonus of these field trips was meeting new people, making connections and learning from each other. A big thank you to the organisers, and again to Paul and Craig for their expertise and guidance.
Tunnel Beach by Mary Hinsen
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Karen Lawton describes her Friday field trip to the Dunedin Gasworks Museum:
ON POSSIBLY THE dullest, greyest, coldest day of the Dunedin national convention (the other days were gloriously sunny) I ventured out on the Dunedin Gasworks Museum fieldtrip. The feeling of antiquity started as we approached the bus that was our transport for the day, and I was immediately transported back to the atmosphere of school bus rides.
He too was very knowledgeable and happy to share his passion for the work he was doing. He was also happy to create ‘photo worthy’ sparks and flares of light for all attending.
The Dunedin Gasworks Museum is located in South Dunedin amongst a mix of semi-industrial and commercial outlets. The museum is part of the now closed Dunedin Gasworks which was New Zealand’s first and last gasworks, operating from 1863 until 1987. It is one of only three known preserved gasworks museums in the world and as such is a significant local and world heritage site. Our fieldtrip members were privileged to be able to access this site without any other (public) visitors being present. We were met by a very friendly chap suited up in blue overalls – a retired dentist who now indulges his passion for all things mechanical (and gas driven) by volunteering at this site. He was a wealth of knowledge and he rules the boiler room. In the Fitting Shop building, the forge was in working mode and it was great to see a blacksmith at work. 14
The forge by Helen Westerbeke FPSNZ
The museum site is quite extensive and many nooks and crannies held photographic gems of rust, decay, forgotten equipment and more. Inside the vaunted (slate) roof was very photogenic and worth dallying in as the steam from various vents escaped and created atmospheric image opportunities. Numerous working models of various gas-powered machines and appliances provided mesmerising movement and photographic opportunities
as well as an insight into the domestic hardships people a generation or three ago had to work under. Like every field trip, photographers get out of it the effort they put in, and I am sure some gems were made at this very interesting site. Those lucky enough to have Nikon gear, or wanted to try a full Nikon camera for a change, were assisted by Nikon’s onsite representative and a large case full of gear to trial.
Tony Gorham LPSNZ
Ian Thomson FPSNZ
Ian Thomson FPSNZ
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Larnach Castle Canon and CR Kennedy each took a unique flavour to this Dunedin landmark
Vivienne Baldwin APSNZ
Tony Gorham LPSNZ
Tony Gorham LPSNZ
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Vivienne Baldwin APSNZ
Practising their drumming are Gerard Emery of CRK (left) and President Moira (right).
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Jo Boyd APSNZ wins Epson printer! EPSON RECEIVED LOTS of entries for their ‘best photo’ competition. Despite receiving many great photos, there could only be one winner. Congratulations to Jo Boyd (Riverlea Photography), recipient of a brand new Epson EcoTank ET-7700 printer. Jo Boyd is a part-time professional photographer and member of both PSNZ and NZIPP. She enjoys shooting events and functions including sports, music concerts, conventions, real estate and the odd wedding. For fun, she’ll take a shot at just about everything else, supporting her local community. She never leaves home without her trusty Canon 5D Mk 3 camera. ‘With me, everywhere I go. It has got to the stage where I feel not quite dressed without it.’ She enjoys attending PSNZ conventions, where she can keep in touch with other like-minded folk. The trade stands, guest speakers and imagery on display all fuel her inspiration. Having not long finished a small limited book project which explored black and white environmental portraits of people in her local community, accompanied with a written article on each person who was photographed, Jo now intends to take this a step further and try her hand at blogging. The winning image was taken on the Dunedin Gasworks Museum fieldtrip. We were very lucky to be treated to having an array of Steampunk models on hand. The day was overcast which allowed for some beautiful soft light penetrating the old buildings. ‘The subject was a very interesting chap who hails from Southland,’ said Jo. ‘He likes to be known as the ‘Supreme Commander Battlelord Masterpot’. He builds some interesting alterations to four-wheeler motorbikes in the form of teapots - yes, possibly a bit potty - and races them. He is aligned with the local Steampunk Society which is a ‘thing’ over here. Although a concrete truck driver by day, he said he would much rather be his alter ego fulltime if he ever happened to win Lotto.’
Man of war by Jo Boyd APSNZ
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Around the trades Paul Whitham LPSNZ captured the action around the trade areas
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Acknowledging our partners FOR MANY YEARS PSNZ has enjoyed invaluable support from our industry trade partners and none more so than at the national conventions. As well as operating their trade stands the partners had the opportunity to take naming rights to any of the field trips, which gave them the chance to put their brands right in delegates’ hands. It appears both parties were pretty satisfied with how this worked – giving the trade exposure to their current users and/or photographers perhaps considering a change in equipment, and it gave photographers the chance to try cameras or lenses that they didn’t have. The Gear Talk hangouts initiated by eight brands represented under the Lacklands family were a first for a national convention and appeared very successful. Keep an eye out for these at future conventions! The Convention Organising Committees of every convention and the Society recognise that while each trade partner commits to considerable expense to join us, we are confident that we return them value added benefits by being able to talk face to face with so many delegates, ongoing communication and advertising opportunities through the year and more opportunities to develop unique events to showcase their products.
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On behalf of the Dunedin COC and PSNZ, a huge thank you to: Platinum
Gold
Silver
Bronze
Supporters
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Are conventions still relevant? by Paul Whitham LPSNZ
WHEN THE PHOTOGRAPHIC Society of New Zealand was created in 1952, all photos existed in a physical form throughout their whole life. They started as a piece of film, or a plate. They were processed through different chemicals that turned them into either a negative strip or a transparency. The former was then used to create prints, while the latter was put into a projector and shown on a screen. When photographers clicked the button they had no idea if they had got the result they wanted, and they were limited in the number of shots that they could take. It would be another six years before the first computers were linked together to form what would eventually be called the Internet some 30 years later. Those computers took up entire floors of large buildings. If you wanted to learn photography you were fairly limited.You could buy a book, or you could attend a local camera club. The only way to hear and see the work of photographic greats was to attend a convention, and even then you would be limited, as New Zealand is a long way from anywhere. It was also the only way to see a wide range of photographic work in one place, as the art world at that time did not see photography as an art form. First forward to today and the world has changed immensely. We now carry access to the Internet in our pocket. Our cameras can take and store thousands of images and we can immediately see what we have produced. The vast majority of those images will never exist in a physical form. From the comfort of my lounge, via my 65� Smart TV, I can connect to images, talks, tutorials and even multi-day workshops from anywhere in the world. For as little as $US19 I can buy a full-day workshop and download it to my tablet and watch it on the train to work. Through Facebook and other social media I can share my images with millions of people and can receive feedback on them. Whether the feedback is actually any use is a mute point. If I want to pay a little per month I can actually receive feedback from people who actually know what they are talking about. Therefore, when I can do all this in my own home, why would I want to spend good money and go to a convention? For me the answer lies in what the Internet cannot provide, and that is the opportunity to actually interact with other photographers face to face, and also to have my questions answered by people in the trade. While it is true that I can Google most things, the reality is that unless I know what to ask I’m likely to come up with the wrong answer. It is also likely that we will be blinkered in our searches. For me the most inspiring speaker at the Dunedin convention was Steve Gosling. Prior to the promotional material coming out I had 22
never heard of him. As I do not shoot landscapes I very much doubt I would have bothered to look at any of his work, nor thought that he could offer any real advice to me. I was seriously wrong on that count. His presentations at the convention covered universal themes in photography. While he did show the majority of landscape images, they were actually used to emphasise what he was saying. His main points of shooting what you feel, not what you see, and also shooting to please yourself and not others, really resonated with me. The reality is that often it is the small things obtained through being exposed to different photographers that help the most. It is the tip given by one photographer to another on how to do something a different way that can give the most return. And often those tips simply come about because someone sees someone else doing something, and that person is willing to help. It is the opportunity to see a print, and talk to the photographer about the process behind it, and then maybe having the opportunity to talk to a selector about what it was that they saw in it. It is the opportunity to try out new gear in the field for an extended length of time, rather than in the confined space of a camera shop, assuming that you actually have a camera shop in your town anymore. And finally it is the opportunity to get out of the house and try something new, because you never know you might actually like it. The next opportunity for such a gathering is at the Central Regional Convention in Whanganui from 28 to 30 September. Why not plan to be there?
New PSNZ accredited judges Congratulations to Judy Stokes APSNZ, Brian Harmer LPSNZ and Chris Parkin APSNZ who have all been appointed as Accredited PSNZ Judges - category Open. Judy can be contacted at muzojudes@gmail.com or phone 021 048 8469. Brian can be contacted at harmer.brian@gmail.com or phone 021 246 3588. Chris can be contacted at ctparkin@yahoo.com or phone 021 252 9998. Caroline Ludford LPSNZ LRPS Secretary, Judge Accreditation Panel
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Moira Blincoe LPSNZ PSNZ President tells her photographic story
MY LOVE OF photography started in my twenties when I left New Zealand to ‘travel the world’. I wanted to capture the sights I encountered and make memories of my travels. I knew nothing about photography really, but ‘snapped’ away, getting images printed and filling the albums. In 1977 I immigrated to Canada and worked in the oil industry. Some years later I returned to college as a mature student and studied public relations and journalism, and within the journalism programme we studied photo journalism. The curriculum was pretty tough and the Moira addresses the banquet. Image by Simone standards were very high - we had to ‘deliver’ a set number Jackson LPSNZ of images each week, as well as contribute to the College newspaper, which as journalism students we also wrote for and produced! I enjoyed the darkroom and being able to manipulate my photographs (dodge and burn I guess, but sadly I’m not that great in Photoshop today!). As a journalist foremost it was always a thrill to see my work published, and equally so as a photographer to have images published alongside your story, was a great confidence booster. Aah, the early days of competitiveness and rivalry amongst my peers. Nothing has changed, even decades later! As I progressed in my public relations career, still in Calgary, I was lucky enough to use my photography skills to support my work in producing the myriad of newsletters, magazines and press releases. I secured some of the most amazing PR roles in Calgary, most of them on a contract basis as the oil industry sent Alberta into a slump. So while I was applying for permanent positions, I was also competing against many seniors who had been made redundant. I used my initiative and creativity to secure some Government funding and developed contract PR roles for myself at the 1988 Winter Olympic Organising Committee and the Canadian Olympic Men’s Hockey team. I also worked within the tourism industry at Calgary’s Heritage Park - a working historical village depicting life in the Prairies in the 1900s. I spent 10 years living in Calgary and managed some travel around Canada and the States, documenting as I travelled. But being the film days, I was conscious of the cost, so was much more Contemplating by Moia Blincoe
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cautious about what I photographed and printed. Returning to New Zealand in the late 80s I continued photographing for pleasure and having landed another great job in the tourism industry, I was able to pursue more photography with work and was even ‘commissioned’ to travel the South Island on a coach tour, photographing silly 18-35 year olds having the holiday of their lives on a Contiki coach tour! Country church by Moira Blincoe
From 1987 through to 2005 I continued to develop my own interests in photography, experimenting with different cameras, film types and genres, and also used it in all the communication roles I had. When I think of the money I saved the companies, just by being able to pick up my own camera and photograph subjects as soon as it was required, I could be a wealthy woman today!
My real passion for photography, and where I feel I really learned the basics of digital photography, was in 2006 when Chris and I were living in France. In 2005 we went to France for what we thought was an initial six month work experience, hosting a ski chalet in the French Alps. We loved it so much we stayed four years; however in the first summer we had booked ourselves into a digital photography school for a week’s workshop, followed by a week at a cook school, for me! The digital photography workshop was amazing, taught by a former leading BBC cameraman and filled with morning tutorials, followed by practical shoots with set tasks utilising the beautiful French landscape, villages and markets as our subject matter. Chris and I both fell in love with everything about photography in that week. We progressed and bought ourselves a Nikon D90 camera which we shared - for a while.
Sons of the Sahara by Moira Blincoe
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Back in the Alps I completed an alpine flowers workshop, hosted by one of the English winter residents to our village; he was also the chief fine art photographer for Sotheby’s in London. Lucilla was an excellent teacher and watching, learning and shooting with her gave me my first insight into macro photography, which I also fell in love with. For the next three years, as we lived and travelled in France and surrounds, photography dominated our lives and we progressed from one to two cameras, and a few more lenses. We dragged ourselves into the digital aspect of social media and the web - being frustrated most of the time. When we returned home in 2009 we became aware of the photography circle in New Zealand - the camera clubs and PSNZ. We joined Auckland Photographic Society (APS) immediately, and started off the year by entering our first competitions. We thought we were pretty good to receive ‘Highly Commended’ results on our two images each, but of course came down to earth another month when only receiving Acceptances! Being part of the APS and PSNZ and participating in the field trips, workshops, conventions and generally ‘breathing photography’ has been a huge part of my (our) life since then. Working in the communications and PR industry, I continued to use photography with my work, but my real passion for photographing people grew stronger and stronger. In 2011 I changed direction from working full time in communications to incorporate photography into a work lifestyle balance. I established a boutique studio at home and began photographing newborn babies, toddlers and families. It was hard going at first, trying to establish myself in the photography community, and looking back now I probably did things around the wrong way. Nevertheless I absolutely loved what I was able to do with the children, and my photography emerged and grew. For the following five years I continued to offer portraits which included maternity, newborns, family/lifestyle shoots in the studio and also on location.
Newborn Willa by Moira Blincoe
I was approached to do some photography for a number of charities, all involving children, which I still do today - time permitting. For organisations that don’t have the big marketing budgets to afford paying for photography, it is a way of paying it forward, for me, and I’m honoured that my skills contribute to these organisations being able to present themselves professionally with good quality marketing materials and websites with real and emotive imagery. Another charity I give time to is Heartfelt NZ, an organisation that offers photographers to families who lose their babies or children too soon, whether it be at birth (or before) or
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through cancer or other illnesses. These photography sessions take place within the NICU units at the hospitals and I consider it a privilege to be able to make longlasting memories for parents at such a tragic time in their lives. Sometimes the sessions are incredibly emotive and I find it a struggle to get through them myself, especially seeing a young mother and father struggling to comprehend why their perfect little baby didn’t make it. Equally so, it is an honour to be asked to photograph a toddler celebrate an early birthday, because the family were told the little one wouldn’t make it another two weeks.
Perfection by Moira Blincoe
The Heartfelt photographers edit all the photographs and upload them to a website and share the gallery with the family. I select a certain number of images to be printed and the balance of the gallery gets loaded onto a USB stick. We are fortunate in New Zealand to have the generous support of Queensberry (who appeared at the Dunedin convention for the first time last month - and loved it!), who print about 25 selected images and package everything up and send it to the family. Our services are all at no cost to the families. These photographs are the only memory they will have of their precious little one who they will never get to take to their first day at school, or see grow up into young men and women; or be able to cheer them from the sidelines of a sports game, watch a graduation or wedding ceremony. It’s tough, but somehow I seem to have the strength to be able to do these sessions, but quite often need a good glass of wine at the end of the day. From a PSNZ perspective, I have been on the Council for almost eight years, having first been invited by former president Shona Jaray APSNZ to join her team, specifically to handle communications and publicity. I was inaugurated into the PSNZ way of life during my first ever national convention in Invercargill which was a wonderful experience. I never thought going to a convention could be so much fun and it was an eye opener (to say the least) to see not only how much work clubs do in hosting a convention, but also the work that Council does, mostly unseen by members. Handling the communications portfolio allowed me to work across the entire PSNZ spectrum and get to know most of the activities in any calendar year, and also meet new faces as we celebrated many member successes. Fast forward from 2011 and in that time I feel I have made a valuable contribution to the PSNZ brand and activities. Working on the communications portfolio allowed me to rebrand CameraTalk and assist in moving it to the fabulous digital magazine it is today. Rebranding and updating the website with Toya Heatley APSNZ was an extensive and time-consuming exercise but one that was well overdue. The website today is a robust and well managed site that members should embrace as the ‘go to’ destination for information about all PSNZ related matters. 27
IPP Peter Robertson LPSNZ contratulates the new president. Image by Simone Jackson LPSNZ
Looking to the future and my role as President, I would like to see several more components of PSNZ updated and modernised - even if it is some of the ‘behind the scenes’ activities that are not immediately noticeable to members but will allow Council and the off Council committees and volunteers to operate more efficiently. I believe we have an excellent lineup of Councillors who generously give their skills and time on a volunteer basis to further improve and deliver the services to our members. Of course we are always open to more support and have a number of off-Council roles we would love help with. While working virtually for much of the Society, I like to think I work with an open door policy. I welcome feedback and thoughts from our members and will do all I can to ensure that members are listened to and communicated with in an open and honest manner. Life in the Blincoe household can be quite competitive at times as Chris and I are surrounded by photographers. Our son Jeremy is a fine art photographer living in Melbourne who thankfully - is now gaining the success and recognition he has worked hard to achieve. And our son-in-law Neal, living in Canada, is also a photographer and former Canon employee. Between us we have three children and three granddaughters. In the last two months we gained two prospective daughters-in-law and look forward to two weddings in the next 12 to 18 months. Life is busy - our days are full - but we wouldn’t have it any other way. Life is for living and enjoyment, especially while we are in good health and fitness. I am honoured to accept the position of President and look forward to meeting as many new members and clubs as possible in the coming 24 months.
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The new president is treated with the bowed respect of Graham Dainty FPSNZ and Rodney Adamson. Image by Simone Jackson LPSNZ
New mama by Moira Blincoe
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Double trouble by Moira Blincoe
Early morning glow by Moira Blincoe
Newly wed by Moira Blincoe
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Maori warrior by Moira Blincoe
New York driver by Moira Blincoe
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2018 National Exhibition of Photography Top Ima
Cha
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ages
ampion Colour Print, George Chance Trophy and PSNZ Gold Medal Open Print Liz Hardley FPSNZ EFIAP/b LRPS Chasing a rainbow
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Champion Monochrome Print, Maadi Challenge Cup and PSNZ Gold Medal Open Print Tracey Scott FPSNZ On the road to the market
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Best Photojournalism Print, Shirley Peverill Memorial Trophy and PSNZ Gold Medal Open Print Brett Walter AFIAP Modern day warrior
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Best Landscape Print, H S James Award and PSNZ Gold Medal Open Print Tom Wilkinson APSNZ Landmannalaugar
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Champion Nature Print PSNZ Gold Medal Nature Print Roger Wandless FPSNZ Nesting Antarctic Petrel
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Best Print Illustrating NZ Wildlife, William C Davies Memorial Trophy and PSNZ Gold Medal Nature Print Chris Helliwell LPSNZ New Zealand dabchick with young
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Best Landscape Projected Image, Eric Young Memorial Trophy and PSNZ Gold Medal Open Projected Image Brian Eastwood Ancient Forest
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Best Photojournalism Projected Image, Brian Brake Memorial Award and PSNZ Gold Medal Open Projected Image Bill Hodges APSNZ EFIAP His fans Look on
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Champion Monochrome Projected Image, Arthur Bates Trophy and PSNZ Gold Medal Open Projected Image Nola Sumner AAPS LPSNZ Aligned
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Champion Nature Projected Image PSNZ Gold Medal Nature Projected Image Jacky Challis Polar bear (Ursus maritimus)
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Best Projected Image Illustrating NZ wildlife, Geoff Moon Nature Trophy and PSNZ Gold Medal Nature Projected Image Glenda Rees Adult wrybill (Anarhynchus frontalis) with chick
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Champion Projected Image, Robinson Cup and PSNZ Gold Medal Open Projected Image Annette Johnston LPSNZ Simplicity
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Silver Medal Open Print Adam Buckle FPSNZ FNZIPP AAIPP Knock knock - who’s there
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Silver Medal Open Print Jean Moulin APSNZ EFIAP Confused
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Silver Medal Nature Print Tracey Scott FPSNZ Juvenille Theropithecus gelada
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Best Maritime Print or Projected Image, Richard Ratcliff Marine Award and PSNZ Silver Medal Open Projected Image Elizabeth Passuello FPSNZ FNPSNZ AAPS EFIAP Broadside in the breakers
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Silver Medal Open Projected Image Kirsteen Redshaw APSNZ Got my RED sneakers on
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Silver Medal Open Projected Image Jo Curtis LPSNZ Isolated
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Silver Medal Nature Projected Image Bob McCree FPSNZ Australian darter (Anhinga novaehollandiae)
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Silver Medal Nature Projected Image Elizabeth Passuello FPSNZ FNPSNZ AAPS EFIAP Mycena parsonsiae 4
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Bronze Medal Open Print Stephanie Forrester LPSNZ Footprints in the sand
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Bronze Medal Open Print Rebecca MacDonald LPSNZ Food and wine
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Bronze Medal Open Print Stuart Clook Sardines (platinum over silver leaf on vellum)
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Bronze Medal Nature Print Chris Helliwell LPSNZ Spotless crake juvenile
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Bronze Medal Nature Print Glenda Rees Male rifleman (Acanthisitta chloris) with a twig
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Bronze Medal Nature Print Jennifer Williams-Simone LPSNZ Wild grizzly bear
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Bronze Medal Open Projected Image Richard Laing Anyone for chess?
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Bronze Medal Open Projected Image Emily Morgan Bewitching
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Bronze Medal Open Projected Image Glenda Rees Into the sunset
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Bronze Medal Nature Projected Image Glenda Rees A wet male Rifleman (acanthisitta chloris) with prey
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Bronze Medal Nature Projected Image Gillian Clover LPSNZ Mount Cook Lily (Ranunculus lyallii)
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Bronze Medal Nature Projected Image Sue Riach LPSNZ Flesh fly
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OPEN PRINTS - HONOURS
Neil Gordon APSNZ Geometric
Dianna Hambleton LPSNZ Killing time
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OPEN PRINT - HONOURS
Lorraine Gibb LPSNZ Quince
Michael Boyd-Clark APSNZ 76
Near Waiuku
OPEN PRINT - HONOURS
Michael Boyd-Clark APSNZ Budding Magnolia
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NATURE PRINT - HONOURS
Doug Moulin APSNZ FAPS EFIAP/b Pelicans
Jennifer Williams-Simone LPSNZ Wild Grizzly bear cub Alaska
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NATURE PRINT - HONOURS
Marie Bilodeau LPSNZ White-fronted tern and chick
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OPEN PROJECTED IMAGE - HONOURS
Adam Buckle FPSNZ FNZIPP AAIPP Defiance
Liz Hardley FPSNZ EFIAP/b LRPS Einstein on the beach 80
OPEN PROJECTED IMAGE - HONOURS
Karin Charteris APSNZ AFIAP Mine
Heather Knapp LPSNZ Dancing queen 81
OPEN PROJECTED IMAGE - HONOURS
Chris Watson Concentration
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NATURE PROJECTED IMAGE - HONOURS
Toya Heatley APSNZ Sacred kingfisher with crab
Elizabeth Passuello FPSNZ FNPSNZ AAPS EFIAP Monarch caterpillar moult completion
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NATURE PROJECTED IMAGE - HONOURS
Fredrik Moell Four chinstrap penguins
Dianna Hambleton LPSNZ 84
Mother and pup NZ fur seal - kekeno
NATURE PROJECTED IMAGE - HONOURS
Craig Martin Phocarctos hookeri
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4 NATIONS 2018
It is that time of year again to select the images for the 4 Nations. I am taking entries from now, closing 28 May 2018. Please send them to 4nations2018@gmail.com You may send up to four images, maximum size 1920 x 1080, jpeg, file size less than 1mb. Please note that the maximum size of the images has changed from last year. File name – Section you want to enter, Title, Author’s name – eg OC_Otago Sunset_Joe Bloggs Images that have been accepted for this competition before are not eligible.
There are four sections: Open - OP Mono - MO Nature - NT Our Country - OC
There is no entry fee for this competition. I look forward to receiving your entries.
Ann Bastion FPSNZ EFIAP PSNZ Councillor – International Salons
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A convention like no other focus on learning • Over 10 hours of workshops • Informative speakers • Instructor led fieldtrips Multiple photography genres Plus everything else you love Including a rare opportunity to see images from the PSNZ permanent collection
26-29 April 2019 Lower Hutt
www.hutt2019.org.nz sign up to our mailing list to receive regular updates. Details on the website 87
Want to join a print circle? One way to improve your photography is to critique other people’s photographs and to have others assess yours.You can do this by joining a print circle. Up to ten photographers circulate their work by mail to other members who have a few days to make constructive comments on the work received, add a new print for others to view, and post the bag to the next person on the list. Each circle is monitored by a secretary who sends out a roster for each round and ensures the circle is running smoothly. Members can expect the bag to arrive three to four times a year. People are encouraged to keep in touch by adding a short letter each round, helping them to get to know other photographers and gain useful feedback on their work. One or two circles currently have vacancies. If you’d like to join, please contact Lindsay Stockbridge LPSNZ at dilinz@actrix.co.nz and we’ll happily settle you into a print circle!
The last image
A kaka at the Orokonui reserve finds the perfect use for a Canon lens by sitting on Canon rep Geoff Hall’s camera. Image by James Gibson APSNZ AFIAP
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