Cameratalk December 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 December 2017 / January 2018

Editor’s corner 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 & LAYOUT Paul Whitham LPSNZ PSNZ Councillor t. 04 973 3015 or m. 021 644 418 e. paul@pwfotos.com

THE REGIONAL CONVENTIONS have come and gone. We applaud the organising teams in Stratford and Nelson who put together two amazingly enjoyable weekend gatherings. Large numbers of conventioneers appreciate all your hard work. Naturally Dunedin, the PSNZ National Convention, is on the horizon. Mark the dates in your diary – 19 to 22 April 2018! Diane and I have already planned and booked a three-week South Island trip, and look forward to catching up with you all in Dunedin. Now that CameraTalk is an online production, we are not limited to a specific number of pages per issue. We can, within reason, produce as many pages as we wish. That, of course,

means that we can publish as much material as you like to send us. Myriads of meetings, field trips and activities take place in our photographic community. When your club organises a significant event, please detail someone to record it, write about it, and send it to me for publication. If you send it, we’ll publish it. Promise! Meantime, do enjoy your Christmas and New Year. If your stocking overflows with photographic goodies, do put them to pleasurable use!

Lindsay Stockbridge LPSNZ Editor

CAMERATALK DEADLINE The next CameraTalk deadline is 1 February 2018 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.

On the cover The Champion Open Projected Image from the Southern Regional Salon - Linear lady by Melissa Jemmett

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.

The Strategic Plan COUNCIL’S STRATEGIC PLAN is an aspirational document that sets out the Mission of the Society, the Society’s Core Values, Council’s five-year priorities, and a set of goals grouped around sustainability, adding value for members, growth and revenue, inspiration and education. The Strategic Plan is intended to be a working document that will continue to be shaped by member feedback, and the goals will be modified from time to time to take account of future trends and the needs of members. Action plans are being developed to achieve these goals and will provide a framework by which Council will be able to monitor its performance. Following on from this strategic thinking is a review of the Society’s Rules. These are being tidied up to remove archaic language, ambiguities and errors caused by previous edits, and a revised Constitution consistent with our current strategic thinking will be presented to members in due course.

From the President's desk

In this issue Canon Online Results

Letter to the Editor

Fujifilm 2018

A survey of member opinion will be conducted in February to provide critical feedback for this process.

Helen Westerbeke fellowship

Photographing a wedding

In the meantime, we wish you a happy festive season and hope that you have an opportunity to add some great images to your collections. Best wishes to those preparing submissions for the many PSNZ events that occur in the New Year, such as Inter-club Competitions, the National Exhibition, and submissions for PSNZ Honours.

Express yourself

Epson news

Audio-Visual notes

Member profile: Lynn Clayton

Convention news

The soapbox

Southern impressions

Southern Regional Salon

WPS 125 exhibition

Councillor profile: Ann Bastion

We wish you well in your creative endeavours. Kind regards Peter Robertson LPSNZ President

In confidence, enthus

Our Five Year Priorities are:     

Create and maintain effective governance Membership and club support Deliver value proposition to members and clubs Build trusted relationships Develop revenue growth

Our Strategic Goals are: Sustainability

Adding value for Members

 Maintain effective governance  Establish priorities for future direction of PSNZ

 Implement a membership survey  Establish a membership plan and implement based on survey findings

 Define roles and responsibilities within Council portfolios  Develop programme for reviewing ByLaws, policies and manuals  Develop action plans to implement strategic plan  Improve PSNZ systems, processes, resource management  Develop a Code of Conduct for members and Council

 Strengthen PSNZ relationship with affiliated clubs  Grow Judge Accreditation training programme  Strengthen responsibilities of Judge Accreditation Panel (JAP)  Introduce accreditation for Audio Visual Judges  Ensure Honours system is robust  Review options for Honours after Fellowship Awards

Our Mission

‘Helping Photographers Grow’ siasm, relationships, technical skills and artistic expression.

Our Core Values are:    

Education - workshops, presentations, salons, exhibitions Growth - growth of skills, knowledge, satisfaction Enjoyment - value proposal, relationships Friendship - gatherings, clubs, conventions, field trips

Growth and Revenue

Inspiration and Education

 Review key channels of revenue and funding sources  Identify channels to seek alternative funding opportunities  Grow PSNZ membership  Emphasise membership retention  Strengthen relationships with trade partners  Develop overarching partnership programme

 Strengthen relationships with affiliated clubs  Deliver inspiring conventions  Develop and implement series of workshops  Develop coach and/or mentoring programme for Honours Awards  Review and revitalise Help Sheets  Introduce a series of informative webinars  Promote and communicate role of JAP and HB  JAP becomes first port of call when seeking judges  Deliver informative online magazine, NZ CameraTalk 5

PSNZ Canon Online Results from Round 5, 2017 CONGRATULATIONS TO OUR winner, Carolina Dutruel APSNZ, Henderson Photographic Society member, with her lovely image One, and to the other nine place-getters. Our thanks go to our judge for this round, Julia Home APSNZ EFIAP from Kaiapoi in North Canterbury, for her time and expertise which is much appreciated. Round 6 closes on 25 December and all financial PSNZ members are welcome to enter. One image only please, sized 1620x1080 and uploaded on the PSNZ website. Sally Phillips APSNZ PSNZ Canon Online Coordinator

Comments from the judge: Julia Home APSNZ EFIAP There were 53 images in this round and the standard was quite high, making the final selection of 10 a little hard. It is interesting that people seem to think that post-production is a must in the final presentation of images, when sometimes the simplest subtle adjustment to an image can be all that is needed, if you have got it right in the camera in the first place. It was good to see some people using in-camera techniques to produce their images.

One by Carolina Dutruel APSNZ

1st One by Carolina Dutruel APSNZ To me, the shape of the dress has accentuated the length of the modelâ&#x20AC;&#x2122;s back. The side lighting has given lovely detail to the contours of her back and to the fold in the garment she is wearing. The addition of the red bow at the base of the plait gives a nice focal point to the image and breaks up the image well. In my opinion, the inclusion and the position of the hands adds a second smaller triangle that replicates the shape of her back so nicely.

2nd Te Paki Stream by Neil Gordon APSNZ There is so much to explore in this image. To me this is a lovely aerial shot, allowing us to see the different colours that make up a stream according to the depth of the water.You have managed to capture the textures so well and I feel that the tracks formed by vehicles add a good sense of scale to the image.

Te Paki Stream by Neil Gordon APSNZ

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PSNZ Canon Online: 3rd Godwits in the mist by Glenda Rees

A lovely image showing great feather patterning and detail of the godwit. I like that you have included the three birds and with the narrow depth of field it has allowed the closest one to be the sharpest. The image shows the environment of the godwit well and I feel that the reflection of the birds adds to the image nicely.

Godwits in the mist by Glenda Rees

4th My turn next by Lynn Fothergill LPSNZ I wonder what the girl is looking at. Is it at the previous dancer, or is she watching for the signal for her to go on stage? What a great story you are showing here. I feel that you have captured the nervous emotion of this young girl very well, waiting in the wings for her turn to go out and do her best. I like the way the lighting has enhanced the detail of her costume and highlighted the contours of the muscles in her arms.

My turn next by Lynn Fothergill LPSNZ

5th A beautiful ending by Helen McLeod APSNZ Often the seeds that are left behind are better for photography than the actual flower itself, and in my opinion this is one of those situations. This is a well exposed image with good detail in the seed heads. I feel that the post production has enhanced the overall story. A great still life image.

A beautiful ending by Helen McLeod APSNZ

6th End of the road by Kate Beauchamp The tonal range in this image has been handled well and I like the detail and mood portrayed in the sky. I like the placement of the church within the frame and feel that it is well balanced with the brighter area in the sky. A lovely image of a church that by the looks of it has been around for a while.

End of the road by Kate Beauchamp

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PSNZ Canon Online: 7th Ballerina gannet by Judy Stokes APSNZ What a great subject for slow shutter speed photography. I love the fact that I still know what the original subject is but the way you have captured the bird does give a pose similar to that of a ballerina, suiting the title brilliantly. Nicely exposed with some detail in the body and feather region with the tonal range of cream, yellow and the brown background blending together, giving us a lovely harmonious image.

Ballerina gannet by Judy Stokes APSNZ

8th Rain shopping by Noline Skeet To me this triptych is lovely, with its vibrant colours all working together to create a well balanced image. I feel that the placement of the people within the two outer panels allows my eye to be directed into the centre panel where the smaller person adds a good sense of perspective to the image. In my opinion, the painterly effect of your post production enhances the â&#x20AC;&#x2DC;wetâ&#x20AC;&#x2122; feeling of the image.

Rain shopping by Noline Skeet

9th Striking swamp hawk by Jeanette Nee APSNZ A great shot of the wonderful swamp hawk giving the â&#x20AC;&#x2DC;brakes onâ&#x20AC;&#x2122; pose as it is about to capture its prey or come in for a landing. The lighting on the day has given you the ability to show good detail of the feather patterns. The pose shows off the sharp claws nicely, leaving us in no doubt that this is what the hawk uses to capture its prey.

Striking swamp hawk by Jeanette Nee APSNZ

10th In thought by Lynn Hedges This is a very peaceful portrait with lovely subtle lighting and pleasing colour tones. I feel that the model is well positioned within the frame, giving her space to look into. The fact that her eyes are closed gives a peaceful feeling to the image and supports the impression that she is thinking about something.

In thought by Lynn Hedges

Letter to the Editor Sir, The informative article “That elusive A” and the extending/clarifying comments of Bruce Girdwood raise questions in my mind. I personally have enormous difficulty with the idea and production of Sets. Bruce’s quote “…PSNZ objective is to promote… Art…” and …”It is counter-productive to prescribe requirements in any other form than broad guidelines…” seems to me to be contradicted by the actual process and results. Firstly, the requirements actually are prescribed. In what context do “Sets” relate to ART? Why should a portfolio be coherent? The very definition of a portfolio is an edited collection of an artist’s work used to show versatility by showing different examples; no mention of the necessity for the examples to be related. Nowhere in my understanding of art, is there the necessity to produce “a coherent body of (photographic) work”. Artistry that “demonstrates an ability to express

yourself through… photography” should only require the production of beautiful and technically competent pictures. I have found the production of a “Set” of works to attempt to gain my “elusive A” has necessitated me rejecting pictures that I’d like to use to illustrate my artistic vision or competency and subjugate that to the spurious aim of putting 12 pictures in a line to make them look pretty. I want to choose 12 pictures that represent my idea of my photography and those pictures aren’t going to be cropped to the same size, could be a mixture of black-and-white and colour and don’t necessarily bear any harmonious relationship to each other. As Honours guidelines are revamped I sincerely hope that the requirement for “Sets” is not so embedded in PSNZ thinking that it will be taken as a baseline. My opinion is that this limits full evaluation of the photographer’s worthiness for PSNZ Honours. Dr Michael John Molloy AFIAP Dip Photog

CameraTalk asked the PSNZ partners to give us an insight into what 2018 would bring.

Fujifilm 2018 – drawing on a legacy for the future FUJIFILM JAPAN RECENTLY stated that they believe 80% of the journalists at the 2020 Olympic Games will be using mirrorless camera systems. Now that’s a pretty bold statement but it’s backed up by very strong market figures indicating the legacy, film derived, DSLR format is on a downward slide while mirrorless camera growth is rising rapidly. Even here in little old New Zealand DSLR camera sales have fallen by 2% while mirrorless sales have risen by 68% in the last year. It’s pretty clear that these figures indicate mirrorless cameras are the way of the future. Worldwide, photographers are shifting from DSLR systems to mirrorless, smaller, lighter cameras with electronic viewfinders that give you direct feedback in real time together with high end video capability. Most of the perceived downsides of mirrorless, such as viewfinder lag, slow start up time and slow focussing have now been overcome. Legacy can, however, be a good thing. Fujifilm X-Series cameras are an interesting blend of legacy combined with the latest technology. Analogue dials and buttons provide a fun and tactile user experience. Eighty years of R&D in colour results in numerous comments from Fujifilm X users declaring, “The colour is just so much better than other cameras we have used.” An 80-year legacy of producing some of the best optical glass in the world is reflected in lenses that provide renowned edge to edge and corner to corner sharpness. The Fujinon XF range has grown rapidly over six years into a collection of 25 lenses. At least two new lenses will be added in 2018. They include an 8-16mm f2.8 that’s bound to be a hit with astro-enthusiasts, and a 200mm f2 – yes, that’s the equivalent of a 300mm f2! Now that’s a piece of glass we expect to see a lot on the sidelines at the 2020 Olympics. Fujifilm R&D is very much driven by photographers. Features built into each new generation of X-Series cameras are a result of user feedback and collaboration with X-photographer ambassadors. Many of Fujifilm’s R&D team are not just techno geeks but are passionate photographers and their primary focus is image quality. New technology is only implemented if it won’t compromise image quality. We might not be able to tell you exactly what the R&D team are seeing in their crystal ball, but we can guarantee it will build on the trend to faster response times, faster and more accurate autofocus, and features demanded by discerning photographers and videographers worldwide. Something else you will see from Fujifilm in 2018 is a collaboration with 15 legendary Magnum photographers, including Elliot Erwitt and David Allen Harvey, who will create an exhibition of images exploring the theme of Home. Fujifilm doesn’t just want to build great cameras into the future; it wants to build a strong global visual storytelling community. Now that will be a great legacy for future generations!

Elliott Erwitt photographed bt Alessio Jacona (2014)

Helen Westerbeke FPSNZ was one of three members who earmed their Fellowships this year. CameraTalk asked her to write about her set.

I HAVE ALWAYS had a fascination with abandonment and dilapidation; I love the textures and story they tell in my photography. In 2016 I visited Svalbard Island, halfway between Norway and the North Pole, hoping to see the northern lights and polar bears. I saw neither of these, due to the time of year, and at the last minute decided to visit the abandoned Russian mining town of Pyramiden, even though it didn’t look dilapidated enough for me when I saw the images on their website. On the day we visited it was very misty and the guide told us that they had this weather once a year. This made it a very special day to see the town as it added to the “ghostly” feel. I was hugely inspired and struggled to keep up with the group; I know you will relate to this. (I was unable to find any photographic guides in Svalbard to take me where I wanted to go and so had to join regular tours.) Because of the threat of polar bears, we all had to keep together and the guide was armed with a rifle. The tour of the town took only one hour. I very quickly had to “see” a shot and then stand as still as I could and get the settings and composition right before running to catch up, sometimes with only 20-30 seconds available. I found that because I have been taking a photo every day for the past seven years, and always have my camera with me, I was able to do all this very quickly and to the level needed.

When it came to working on the photos for my Fellowship, I looked at all 175 shots that I had taken on the tour and ended up working with around 24. They were not enough on their own and I wanted to tell the story of abandonment and ghostliness. I started by converting them to black and white in Silver Efex Pro and then adding a couple of texture layers. While visiting a salt mine in Salzburg I had taken photos of old photos that were projected onto the wall of the mine. It occurred to me that I could add these in as “layers” and they would be my ghost miners. I only had about four photos that were any good, so searched online for similar photos that I then projected and photographed so that I had enough for a different photo to cover all 18 images. I spent many hours playing around, deciding which photos to put in with which images and testing out opacity levels in Photoshop. As I did with my Associate set by printing it onto D grade ply, I took a risk by using other people’s photos in my work. I knew that you were allowed to use textures for layering, so hoped it would be seen in the same vein that I did - but I would understand if I was disqualified. I felt that if I was to try and do a shoot nowadays I would not be able to get the same look – especially the “dead” look in the miners’ eyes.

Rather than a narrative, Helen’s set was accompanied by a newspaper article. Many of the viewers did not realise that is was not the genuine thing.

The images were not great photographically but were authentic. I ended up with an opacity level of between 14 and 30% and rubbed lots of “busy” areas out of the photos so that you could only just see the miners. I wanted to achieve a look that made you think, “What is that?” and take a closer look to just make them out.

I took the images to a specialist printer to make sure they were printed to the highest quality and it was so great to see them come alive. When I took them to get matted, it was exciting to see the mat he chose bring out the blacks in even greater detail, and I felt that I was presenting them to their fullest potential.

I paid great attention to detail that you will not necessarily be able to see. For example, one of the images has a miner replacing a lightbulb which I have placed over an actual lightbulb, and the two top images have the miner’s eyes very precisely placed so they “peek” through structures. I also spent a lot of time making sure the horizons in each shot lined up with each other which meant a bit of image-flipping so that your eyes don’t “jar” looking at the whole portfolio. I also wanted to present the set in a pyramid (Pyramiden means Pyramid) and that took a bit of thought and work to get right. A set that looks well put together and effortless actually takes a lot of effort to get right.

I felt that the set was straightforward in that you would understand, with a title of Ghost Town and by looking at the images, that it was an abandoned town - but I wanted to set the scene for viewers. I had a great time creating and writing a “newspaper” article in which I explained where the town was and what had happened to lead to its abandonment. I was really touched at the convention to have people tell me how moved they were by the set. That meant a lot to me, because as an artist I believe your work should evoke a feeling of some type. I had an absolute ball working on the set; I really enjoyed it and am now very affectionate of Svalbard and Pyramiden. I know that I can still go on the hunt for the elusive Aurora and polar b ears but may never again find the perfect conditions for my Ghost Town.

Helen Westerbeke FPSNZ - Successful Fellowship Set

Photographing a wedding Paul Whitham LPSNZ looks at the priorites and pitfalls I AM SURE that many of you can relate to the following situation.Your family knows that you are a photographer and that you have a “nice” camera.You may even have become the unofficial photographer for family events. And then you receive an enquiry. Somebody is getting married and they would like you to shoot the wedding. You may be really stoked that they consider you have enough skills to take on such an important role. This article is aimed at those photographers finding themselves in such circumstances.

Before you say yes! Do think very carefully before you accept the offer. Wedding photography strikes fear in many photographers, even those who making a living from the craft. It can be one of the most rewarding but also most stressful activities that you can engage in. I am going to be blunt and say that while certain skills learned in one photographic genre can be applied to wedding photography, there are a lot that cannot.You need to be able to shoot rapidly and be adaptable, and for much of the time you will be in less than ideal environments, fighting the light. I would estimate that it is at least 80% people management, and unless you have the ability to work under pressure and direct people I would recommend that you decline and suggest they hire someone with more experience. While the whole day involves people it is broken into different aspects that actually use different skills. Getting ready Ceremony Family/groups Formals Reception

Documentary/macro Documentary, event and some staged portraiture Staged portraiture Staged portraiture Documentary/event/macro/some staged Great! You have decided that you will do the job and rather than being an “Uncle Bob1” you will be the official photographer for the event. The rest of this article is about helping you get ready for that task. I would also suggest that you start this process as soon as possible after agreeing to do the photos.

1 Uncle Bob is a term often used to denote the relative with a camera who thinks they can take better photos than the professional employed. Their greatest ability is to manage to get in the shots and ruin them.

continued from page 25

Be clear on the couple’s expectations

No two weddings are identical and it is very easy to have confusion about what the bride and groom are expecting you to do versus what you are thinking they want. While the wedding ceremony on its own may take no more than 30 minutes, a full wedding coverage can be up to 10 hours long. It is therefore important to know how long you will be involved. Hopefully this ties in with what you thought you would be doing, and for how long, when you agreed to shoot the wedding. In addition brides (and particularly first-time brides) will have ideas of the sorts of images they want. Pinterest and wedding magazines can be both your biggest help and at the same time your worst enemy. It is very important that, before you agree to a style of photography, you are confident you can deliver on the day. Also a word of warning; many of the images that you will see in wedding magazines are not actually shot at real weddings, or taken in the true environment of the wedding. In America many photographers shoot images of the couple ahead of the actual ceremony, or re-stage images such as the first look, rings or kiss, after all the guests have left the ceremony. Getting that perfect image is easy when you have 30 minutes to set up and light each shot. That is a luxury you will not have on the day.

The image (left) is the actual ring exchange during the ceremony. The one above was created later but inserted in the album at the right point.

Communication is the key and it is important that all the following are determined as soon as possible, as they will help make planning for the day as easy as possible.

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The key locations - getting ready, ceremony and reception

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Specific restrictions at any of the venues; for example, flash photography is not allowed in all venues.

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An overall plan for the day (more about this later)

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Are other people, such as a videographer, also recording the event?

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Is anything special happening or are there any specific details that need recording? (The adage, “Something old, something new, something borrowed, something blue” all points to specific detail images.)

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Sort out who will obtain any permissions or permits for the formals. For example in Auckland the council requires a permit, and accompanying fee, if you want to take wedding photos in the Botanical Gardens. Shots at Parliament are supposed to be prior-approved by the Speaker’s office.

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Establish a clear expectation on when images will be delivered. In the age of Facebook it is not uncommon for couples to want some “sneak peak” images to post the day after the ceremony. This is especially the case if they have elected to “unplug” their ceremony which is basically when they ask that the guests leave all the photography to you.

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For longer shooting engagements, will you be fed?

Have a plan for the day

All weddings will have a timeline of when things are to happen. The key is the balancing act between everyone’s needs. Where you will have the most influence is over the time taken for any group/family shots, and then the formals of the bridal party. Be realistic about how long things will take and make sure there is time for the bride and groom. For example, I always leave 15 minutes from the end of the ceremony before we start any family shots, and I try to have all of the formals done within an hour (including travelling time).

Develop the shot lists

Google wedding shot lists; you can download whole lists of the usual photos that are taken at a wedding. This will give you a guide to what to shoot if you have never done a wedding before. It may pay to print off the list and put it in your camera bag. In addition, ask the bride and groom to write up a list of the group and family shots they want taken. This should definitely be in the camera bag on the day.

continued from page 27

Arrange the wranglers

Taking the family and group photos can at times be like herding cats. To help the process it is important that you ask the bride and groom to appoint wranglers from each family group. Their role is to gather the various members of the family for each shot, so that you are not held up waiting. This will save time and make the whole process easier. Even if you are a member of one of the families I would recommend that you not take on this role yourself. I’ve also found it easier that when taking group shots you start with the largest group and then work down, limiting the amount of boredom and associated fidgeting that may occur.

Know your gear

Once you know where the wedding and formals are to take place it is time to thoroughly know how to use your gear in those circumstances. Believe me, the day of a wedding is the worst time to test out a new camera, lens or even a flash unit.You need to know how to use all your gear without having to spend time referring to the manual. You also need to know what results your gear will give you when you are faced with a venue with difficult lighting. If you are planning on borrowing or hiring gear, book it a week before so that you have time to learn how to use it. Don’t stress the noise though. There was an old newspaper adage that said, “Any shot is better than no shot”. Most of the images taken inside the church, recording the ceremony, fall into this category. It is extremely unlikely that any of these images will be blown up, so don’t stress about having to use high ISO with associated noise.

This shot is quite noisy if you pixel peak, but at the size displayed was perfect.

Book in a pre-shoot

A pre-shoot generally involves just you and the bride and groom. In the past they were normally arranged close to the day of the wedding, but today a lot of professional photographers refer to them as engagement shoots and they can take place several weeks before the actual ceremony. If you are an amateur photographer I would recommend that you try to plan the shoot reasonably close to the actually day. I generally arrange them a week before the ceremony and if possible place them at roughly the same time and at the same location where we will be shooting the formals. The pre-shoot has two main functions. The first is to build a rapport with the couple in order to make them comfortable being photographed. The majority of people are not used to having a camera pointed at them all the time. At the pre-shoot you can make them more comfortable and that will help on the day. The second benefit is that a pre-shoot lets you try out poses that you may want to use on the wedding day, in an environment where there is minimal time pressure. This is also a great way to discover the bride and groom’s

personal dislikes in their images. Pre-shooting at the same time of day as on the wedding day, lets you work out where the light will be coming from, again helping you plan the shots.

Arrange backup

Photos from a wedding day are priceless, so it is natural to think that you need to keep them safe until you deliver the photos to the bride and groom. But they are not the only items that you need to arrange some form of cover over. For yourself If you are shooting a wedding on your own (which I would not recommend) it pays to have someone that you trust to be available to act as your backup should you not be able to make it. For the weather For most weddings you will be shooting outside for at least some part of the day. Have a contingency plan for an alternative location in the the event of bad weather, or find one so that you can cover any contingency. For your gear Many professionals carry two cameras at a wedding so that if something happens to one, then they swap to the other. Alternatively their second shooter takes over while the issue is sorted. For the files Finally the obvious one. On the day do not shoot all of the images on a single card. Rather have a number of cards and swap them after each important section. If you plan on shooting weddings on a more regular basis then look at a camera that has the ability to shoot multiple cards. On my D600 I shoot the RAW images to the first slot and a second card records the Jpegs.

With a winter wedding we planned the formal shoot at a place where we could have cover if needed, and also brought umbrellas.

Once you return home from the wedding, make sure that you transfer the files from your camera to the computer, and then take another copy of the images before you start processing.

Attend the rehearsal It is extremely important to attend the wedding rehearsal which is generally held the night before the ceremony. Of all of the weddings I have photographed, there has only been one where that was not possible, and that particular wedding was a lot more difficult to shoot.

continued from page 29 Attending the rehearsal has a number of advantages. •

You can introduce yourself to the wider bridal party. Make a point of meeting with the person officiating at the ceremony and find out where you can and can’t operate from.

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You will see the run-though of the ceremony and in the process you can work out shooting lines. If there is a videographer present it lets you work out where you can each position yourselves.

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You will also learn about any different elements of the wedding which will have to be recorded.

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You can find out from the best man or main bridesmaid whether they have anything special planned.

Finally, be ready!

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Ensure that all batteries are charged and cards are empty and formatted.

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If you have a second shooter (or if you are using more than one camera) make sure that you synchronise the clocks in them. This will make editing the images much easier.

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Pack snacks and water, and a change of shoes and clothes.

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Have a good night’s sleep – before and, hopefully, after!

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And finally, don’t stress too much and enjoy yourself.

Express yourself By Moira Blincoe LPSNZ, PSNZ Vice President

YOU COULD SAY that PSNZ ‘runs on the smell of an oily rag’ but that would be untrue, because Council members, and I’ve served for six years now, like to think we are professionals, offering our expertise, skills and advice so that the Society runs smoothly and professionally, like a corporate entity. However, one of the most often asked questions we receive about being a member is, “What’s in it for me?” Aside from the obvious ‘education, growth in photography skills, networking, fun and friendship’, as with any organisation manned by volunteers, my answer to that would be, “You get out of it what you put in”. So my question to members is, “What can you put in?” The Council needs some specific skill sets for next year so if you have ever thought of getting involved and want to make a contribution, then I encourage you to pick up the phone and have a chat with me (ph 09 379 7021, mobile 027 47 33 038 or email moira@blincoephotography.co.nz) or any of the other Council members. While there will be some needs on Council we also have a myriad of off-Council tasks that we would welcome assistance with. If you consider yourself to be well organised, a good communicator (both verbally and with the written word), can work to deadlines with attention to detail, handle a multitude of tasks and work in a team, then I’d love to hear from you. In our Strategic Plan we have identified some areas for growth, so we believe with some additional help we can take the Society to even greater heights and deliver more to our members. So, express yourself… Let’s talk.

Epson NZ revolutionises photo printing by launching A3 and A4 EcoTank photo printers with up to two years worth of ink included Also new five-colour ink system, auto-stop ink bottles and integrated ink tanks AUCKLAND, 25 October 2017 – Epson has revolutionised the world of small office, home office and semi-professional photo printing with the launch of its new EcoTank™ Expression® Premium ET7750 (A3) and EcoTank™ Expression® Premium ET7700 (A4) multi-functional photo printers that come with a 5-colour ink system and up to two years worth of ink – an incredible 14,000 pages in black or 9,000 in colour2 - included1.

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Cartridge-free printing with up to 2 years of ink in the box1

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Includes enough ink to print up to 14,000 pages black or 9,000 colour2

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Unique auto-stop ink bottles uniquely keyed for easy filling of each colour

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5-colour inks for printing high-quality documents and photos up to A3

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Versatile paper handling with dedicated paper and photo trays

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Easy PC-free printing with built-in USB and memory card slots10

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Complete wireless solution — easily print from iPad®, iPhone®, Android™ tablets and smartphones5; includes Wi-Fi Direct®3 and Ethernet

exclusive auto-stop ink bottles, with each colour uniquely keyed for easy filling of each tank. The ET7750 prints borderless up to A3 while the ET-7700 prints borderless up to A4 and both include paper and photo trays plus built-in USB and card slots10. Epson NZ general manager Simon Rogers said, “Put simply these two new printers now give serious photo printers the freedom to print in a way they have never had before. Ideal for home, small office and semi-pro photographers seeking a combination of convenience, performance and value the ET-7750 and ET-7700 enable users to print thousands of high quality photos and documents hassle-free for one upfront price. This maximises convenience, savings, quality and reliability like never before.”

EcoTank™ Expression® Premium ET-7750

Featuring 5-colour inks, the Expression Premium ET-7750 and ET-7700 wireless EcoTank all-in-one printers offer revolutionary, cartridge-free printing with easy-to-fill ink tanks and the new Epson® Notes 1

Based on average monthly print volumes of about 300 pages

Yields based on the ISO/IEC 24712 pattern with Epson’s methodology. Actual ink yields will vary considerably for reasons including images printed,

print settings, temperature and humidity. Yields may be lower when printing infrequently or predominantly with one ink colour. All ink colours are used for printing and printer maintenance, and all colours must be available for printing. 3

Wi-Fi CERTIFIED™, level of performance subject to the range of the router being used. Wi-Fi Direct may require printer software.

Adapter may be required.

For those few who may go over these incredible ink inclusions additional low-cost ink can be bought for $26.99 RRP (each colour) and $34.99 RRP (black) in convenient high-volume bottles that have a dripfree nozzle and resealable cap for easy storage and refilling. The ink bottles also incorporate the unique key system that fits onto their corresponding colour on the printer to prevent misfilling and hold enough ink to print a massive 8,000 pages in black2 and 5,000 pages in colour2. The benefits of these two new printers don’t stop there as in addition to printing documents they also have all the functions you need to create lab quality photos and 4” x 6” borderless photos in just 27 seconds8. Users can also easily edit their photos with Automatic Photo Correction and red-eye removal and use the dedicated CD/DVD tray for direct printing onto those media. As with most Epson printers the Expression ET-7750 and ET-7700 support the latest wireless standard, 802.11n3 and include Wi-Fi Direct®, which means not only is no router required, but also you get greater coverage and faster speeds even when sharing the printer with multiple PCs around the home or office. The printers have built in Ethernet which makes sharing them on any network simple and straightforward and users can easily print direct from a tablet or smartphone using Epson Connect™ solutions which support Android™6, Apple® AirPrint™, Google Cloud Print™, iPad and iPhone, Chromebook™, Fire™-OS, Mac®, and Windows® devices.You can also scan documents and save them to the cloud7 for easy access and collaboration.

presentations and the PC-free scanning and copying of high-quality colour or black-and-white documents easier than ever. Finally and as if that weren’t enough, the Epson EcoTank Expression ET-7750 and ET-7700 printers are backed by a three year Return-to-Base warranty (one year standard and bonus two years upon registration). Users can receive the additional two years bonus warranty when they register online4 within 90 days of purchase at www.epson.co.nz/registrations . The Epson EcoTank Expression ET-7750 and ET-7700 printers are available now from epson.co.nz and specialised Epson resellers and retailers across New Zealand for NZ$$1,299 and NZ$$999 respectively. For more information on EcoTank printers in New Zealand go to https://www.epson.co.nz/ecotank/

Epson has also made navigating the printers’ menu particularly user-friendly with a bright 2.7” TFT colour LCD screen and user friendly control panel buttons, making printing of photos, reports, invoices and 12 months of standard Return to Base warranty. For an additional 24 months warranty (total of 36 months), you must register online at www. epson.co.nz/registrations within 90 days of purchase. 5 Most features require an Internet connection to the printer, as well as an Internet and/or email-enabled device. See - www.epson.co.nz/ connect for a list of Epson Connect enabled printers and compatible devices and Apps. 6 Android is a trademark of Google Inc. 7 Scan to cloud requires an Internet connection, a free Epson Connect account and a destination email address or cloud storage account. For a list of supported cloud services, visit www.epson.co.nz/connect 8 Colour photo in Default Mode on Premium Photo Paper Glossy measured from start of paper feed. Actual print times will vary based on system configuration, software, and page complexity. 9 Equivalent cartridge sets estimate based on print yields of the included black and colour ink bottles as compared to Epson standard-capacity ink cartridge sets for similarly featured cartridge printers as of March 2017. 4

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

Jack Sprosen Memorial Trophy Competition 2017-18 FIRSTLY OUR THANKS go to everyone who entered, because without your efforts there would not be a competition. We are grateful to the Whanganui Camera Club for organising this year’s audio-visual competition on behalf of PSNZ. Ray Anderson and Derek Barrett LPSNZ sorted out all the entries, while Vonnie Cave MNZM Hon FPSNZ FPSNZ, Bev Sinclair and Heather Mackenzie kept the team fed and Robyn Webb gave support. Alistair McAuslan was the judge coordinator and judges Jacqui McGowan LPSNZ, Glyn Hubbard LPSNZ and Trish McAuslan APSNZ EFIAP AAPS had the challenging task of deciding the winners. Congratulations to everyone who was successful this year. John Hodgson won the Theme category and he was the overall winner with his AV, Confession. He will receive the Jack Sprosen Memorial Trophy and PSNZ gold medal. John created an interesting story with a twist. It would spoil it if we told you what that twist was so you will have to come the PSNZ Convention in Dunedin in April to find out!

The other successful AVs in the Theme category were: Bruce Burgess FPSNZ: Bronze Medal for Rainy impressions

Confession by John Hodgson

Gail Stent APSNZ: Bronze Medal for The precious present Bob McCree FPSNZ: Merit for A winter solstice Vonnie Cave MNZM Hon FPSNZ FPSNZ: Commended for Floral beauty Jane Mackay: Commended for Ladakh, land of high passes Helen McLeod APSNZ: Commended for The sound of silence

Congratulations to Helen McLeod APSNZ who won the Music Poetry and Song category with her AV, Death is an art. She will receive a Silver Medal. Other successful audio-visuals in this category were: Gail Stent APSNZ: Merit for Human impact Vonnie Cave MNZM Hon FPSNZ FPSNZ: Merit for The marvellous toy Karen Lawton: Commended for Alice Death is an art by Helen McLeod APSNZ

John Smart: Commended for Streets of Arklow

Congratulations to Bruce Burgess FPSNZ who won the Documentary category with Uluru. He will receive a Silver Medal Other successful audio-visuals in the Documentary category were: Liz Hardley FPSNZ: Commended for ASB Classic womenâ&#x20AC;&#x2122;s finals day 2017 Kevin Chong: Commended for Civic theatre Karen Hope: Commended for Hidden Morocco off the tourist trail Elaine Ashton APSNZ: Commended for Monarch butterfly hatching on a rare blue Swan plant

Uluru by Bruce Burgess FPSNZ

Trish McAuslan APSNZ EFIAP AAPS mcauslanav@gmail.com JSMT Coordinator for PSNZ

Judge training weekends 2018 WE ARE PLANNING three judge training weekends in 2018. Waikato Photographic Society has booked one weekend â&#x20AC;&#x201C; 9 and 10 June 2018. More information regarding venue etc. will be available early next year. We are inviting requests from other clubs and areas of the country to hold two other training weekends between July 2018 and early November 2018. We ask for a minimum of 20 people attending, with a maximum of 30. We need a local person to organise things such as venue, digital projector and screen, catering etc. This is not an onerous job! Please email judging@photography.org.nz to request a judge training weekend in your area. Earliest requests will have preference. These weekends are a significant benefit to both clubs and PSNZ members. Shona Jaray APSNZ Judge Accreditation Panel

A photographic journey:

Lynn Clayton Hon PSNZ APSNZ EFIAP ESFIAP I JOINED THE North Shore Photographic Society 35 years ago and learnt a huge amount; virtually everything I know about photography. In fact I know no better way to learn photography. I discovered what an ‘f stop’ was and learned about polarisers etc. I met amazing people and made great friends. These days I belong to the Auckland Photographic Society. After I mastered the basic skills I was fortunate to be invited to do commercial work around Auckland - annual reports, ribbon cutting ceremonies, accreditation for APEC and CHOGM, sports events and so forth. I was privileged to shoot alongside the legendary Peter Bush at Eden Park. I shot Investitures at Government House, Royalty and a few prime ministers. I also did numerous family groups, two children’s books and so much more. My photography gave me opportunities I never dreamt of. I entered Natex and other PSNZ Salons. I initiated the North Shore Salon 22 years ago and tried to give back to photography what I had gained - an impossible task, but I do try. I often mentor other younger photographers and I find this very rewarding.Yes, I was President of PSNZ around 2003 and served on Council; all wonderful experiences. I have been honoured by the Society with an Hon PSNZ; just as well, as I have failed to be awarded an FPSNZ for photography despite my successes elsewhere. The system doesn’t suit all of us; at least I’m in good company on that score. Believe in yourself - it pays off in the end! My photographic journey has taken me around the world, and FIAP has been a large part of that journey. FIAP also awarded me an Honorary Services Medal so I have been very fortunate indeed. I have exhibited for many years with other photographers and in the past two years I have had Solo shows. Both were very successful; it is wonderful when people pay real money for your work and enjoy displaying it on their walls. For me this is the ultimate mark of success and I treasure these experiences.

Lynn is a keen follower of sailing. Here she is with a little trophy that New Zealand won.

My advice to younger photographers is to enjoy your camera, shoot regularly and experiment. Most important - be yourself, as your images are an extension of you, no one else. If some judge doesn’t like your photographs and you do, that is all that matters.Visiting galleries around the world you will see a variety of genres. Be inspired - but be yourself. You can see some of my work at www. lynnclaytonphotography.com but I have included a number of photographs from different stages of my photographic life!

Manhatten subway - this image was the overall winner of the 2009 North Shore salon.

Wilted - Lynn says she is always photographing flowers.

continued from page 37

PSNZ photographers contributed to a stamp series on New Zealand waterways. This was Lynnâ&#x20AC;&#x2122;s image of the Waikato river by the Huka Falls.

A flower image from Lynnâ&#x20AC;&#x2122;s 1000 peony rose photos.

Lynn has always loved this image titled â&#x20AC;&#x153;Rainy day on the Coromandelâ&#x20AC;?.

Finally three images from a trip to Greenland.

continued from page 39

#natcon2018

Naturally Dunedin The Photographic Society of New Zealand 66th National Convention April 19th-22nd 2018 Dunedin Centre

KEYNOTE SPEAKERS

JOE CORNISH

STEVE GOSLING

www.joecornishphotographer.com

www.stevegoslingphotography.co.uk

Joe, a Sony Global Imaging Ambassador, is a landscape photographer with a focus on conservation, environment and education. Joe will share his experiences and photographs from his time in Antarctica and the Arctic, along with the evolution and revolution of a life in landscape photography.

Steve, an Olympus Visionary, is a professional photographer who specialises in producing creative and contemporary monochrome landscape and travel images. Steve will share his views on the importance of communicating emotion in photography and staying true to your vision as a photographer.

With thanks to Sony New Zealand

www.naturallydunedin.co.nz

Convention news Naturally Dunedin 2018 field trip tasters – just for you! 19–22 April 2018

ALTHOUGH DUNEDIN IS famed for its nature and wildlife, it’s certainly not all penguins and ponga round here! From the early colonial times, right up until today, Dunedin has been home to a host of interesting and eccentric individuals who’ve ensured that it’s always been a fascinating place to visit, and have laid the foundations for many of our convention’s field trips. A perfect example of one of these characters is the formidable yet scandalous William Larnach, who commissioned the building of the beautiful Larnach Castle and its picturesque surrounding gardens.

After a life of extreme highs and lows, financially, politically and personally (many of which are now documented within the Castle’s walls), Larnach now rests in a perfect miniature model of our well-loved First Church. You can visit Larnach’s tomb at the Northern Cemetery, or better yet, view the real First Church just metres from the Octagon. The view from the rear of the church is even more impressive than from the front, fully revealing its basilican-type architecture, with more than a nod to its grand European cousins. At the time, the construction of the First Church caused quite some consternation among its Presbyterian congregation; they were unhappy that rural members had either modest or no places to worship in, compared to the perceived glamour and excess of the city folk. Amazingly, with its magnificent spire, this is still the tallest building in Dunedin!

Hidden around the First Church grounds are a few examples of one of Dunedinâ&#x20AC;&#x2122;s newer attractions, bringing us speeding up to the current day. Dunedin is now home to some outstanding street art, which has been used to great effect to beautify some of our more neglected or just plain ugly areas. Created by a wide variety of New Zealand and international artists, some art covers entire walls of buildings, while others provide more subtle challenges: hidden up alleyways, behind ivy, or simply delicate and tiny. This heritage-led regeneration, focussed on a formerly unloved area, is rapidly becoming a world-class street art trail.

To complement our historic city surroundings, weâ&#x20AC;&#x2122;ll be providing portraiture opportunities, with Victorian ladies at the ornate bluestone Railway Station, along with steampunk models and a working forge at the Gasworks Museum (check our website for Gasworks options for each day), not to mention the various local Dunedin characters you might just be lucky enough to come across while you explore. Confirmed partners now include CR Kennedy, Canon, Sony, Fuji NZ, Nikon, Lacklands and Panasonic. They will be on hand on field trips and at tradestands with demonstrations, equipment to test out, and to answer all your gearrelated questions!

The soapbox by Paul Whitham LPSNZ A COUPLE OF months ago I attended a Panasonic sponsored presentation by UK photographer Ross Grieve at Wellington Photographic Supplies. Ross is one of their ambassadors and was demonstrating the capabilities of the Panasonic GH5 pro-level mirrorless camera. The GH5 is packed with features but one piece of technology (also shared with some other models in the Panasonic range) really got my attention. Panasonic call it 4K or 6K photography. Essentially it is the production of an extremely high resolution video file with the ability to shoot up to 60 frames a second (fps).You then go through the file and select the images that you want to extract. To put that in perspective the Sony A9 is currently the fastest still camera at 20 fps, and standard video is recorded at 24 fps. Even the high resolution imagery shot for the Hobbit movies panned out at 48 fps. Now it has been possible for some time to extract stills from video, but it has always been fraught with difficulty. Anyone who has tried it knows that it is fairly rare to get everything sharply in focus. Therefore the end results are generally not good enough to print, let alone submit for judging. Panasonic seem to have fixed that issue. Ross showed several images and explained how they were shot. The image of a puppy running (below) won

him a national UK title in pet photography. The set-up for the shot was relatively simple. He set up a LED constant light, and then manually focused at a point that the pup would run through. They then introduced the dog and pressed the button. The depth of field used meant that he had quite a number of images to choose from to pick the sharpest. The same technique was also shown with a horse running on the beach and a bird in flight. The result was impressive pin sharp images of animals quite clearly in movement. Now in the past I have been known to comment that with wildlife photography there was as much an element of luck, as well as skill, in nailing the shot. When you shoot at 12fps and take hundreds of shots, the odds are that you will fluke a couple of good ones. There is even a term for the approach - â&#x20AC;&#x153;spray and prayâ&#x20AC;?.

But has this got to the point that is as far removed from Henri Cartier-Bresson’s concept of the decisive moment as it is possible? It raises with me the question that at what point does the gear so much determine the result that the influence of the photographer is minimised to an extent where we might suggest that they are cheating in getting the results. Now I know that we constantly say that “gear doesn’t matter” but the reality is that there are plenty of circumstances where it makes all the difference in the world. For example, a 50mm lens is fairly limited in bird photography in the same way that a 600mm lens would not be used in wedding photography. In the end there may come a point where we decide where the lines between photography and videography start and end. Or alternatively is the gear simply opening up new opportunities to express ourselves. Henri Cartier-Bresson

Judging news New PSNZ Accredited Judge Congratulations to Caroline Ludford LPSNZ LRPS who has recently been appointed as an Accredited PSNZ Judge – Category Open. Caroline can be contacted by email, caroline_ludford@hotmail.com or by phone, 021 958 404.

The Judge Accreditation Panel has appointed a Secretary I am very pleased to advise that Caroline Ludford LPSNZ LRPS has been appointed as Secretary to the J.A.P. Please note that the email address psnz.judging@gmail.com is no longer valid and has been replaced by judging@ photography.org.nz. Emails sent to the new address will automatically be forwarded to Caroline.

Shona Jaray APSNZ Judge Accreditation Panel

Southern impressions PSNZ Southern Regional Convention 2017 - Nelson The Southern Regional Convention featured five fabulous presenters, inspiring attendees with ideas for new projects and challenges for the coming year. Ken Ball introduced his new book titled “She” and explained his way of creating multi exposure images without using Photoshop type software. Wendy Verity explained her style of art photography and Esther Bunning GMNZIPP gave a very professional presentation on her creative portrait photography. Esther’s partner Terry Hann GMNZIPP explained the realities of commercial photography in the fishing industry. Tracey Scott NZIPP AFIAP FPSNZ Dip. F.A. opened our eyes to life in Ethiopia with her graphic photojournalism images. The convention presentations wrapped up with another short session with Ken Ball sharing some deeper insight into the world of multi exposure. An early morning visit to the lighthouse on Boulder Bank for sunrise images was the first of three field trips. Forty keen photographers made this trip on a clear morning with a rather keen wind. Ferry operator Bruce provided commentary along the way to keep everyone engaged. Once landed and with the sun rising, all were keen to explore the area around the lighthouse. Although it was decommissioned in 1982 its stature is still sound enough to allow some to climb up the winding stairs to the light for images. The ferry operator offered those on the trip a very good rate in return for some images he could use for publicity purposes. The Higgins Heritage Park field trip was held in the afternoon. The Park featured many relics of a bygone age, along with a World War 2 re-enactment. We were also presented with some fired up steam engines plus a couple of models dressed up for the occasion. This was a time when the presenters also shared some of their expertise, and Nikon allowed those interested to try some of their latest technology. And then there was the Pink and Black Banquet. This was a most enjoyable evening with great fun had by all those who attended. Everything happened just as planned except for the white balance in the cameras. There was a lot of wine and a lot of experts who knew how to solve the problem but suffice to say there will not likely be any Honours images forthcoming from the banquet. The sun shone for us again on the Sunday as the trophy awards were presented and attendees made their last purchases at the trade stands before Peter Robertson, PSNZ President, made a farewell speech followed by a hearty lunch to finish the convention. In the awards for the Salon, four trophies were presented. Newell Grenfell Hon PSNZ FPSNZ FNPSNZ won the Northern Assurance Colour Cup for the Overall Best Projected Image and John Reid APSNZ ANPSNZ AFIAP won the Northern Assurance Cup for the Overall Best Print. The other two cups relate to the Interclub Sets. Motueka Camera Club received the South Canterbury PS Cup for the Best Projected Image Set and the Nelson Camera Club is now the holder of the Rose and Raleigh Emerson Cup for the Best Print Set.

Southern Regional Salon - 2017 Awards TheÂ Northern Assurance Colour Cup for the overall winner projected image Face off by Newell Grenfell Hon. PSNZ FPSNZ FNPSNZ

The Northern Assurance Cup for the best Print With this smile by John Reid APSNZ ANPSNZ AFIAP

Southern Regional Salon - 2017 Awards Champion Nature Print Ozonjuiti Bari water hole by John Reid APSNZ ANPSNZ AFIAP

Southern Regional Salon - 2017 Awards Champion Open Print Choppy sea by Peter Curtis LPSNZ

Southern Regional Salon - 2017 Awards Champion Nature Projected image Robber fly feeding on a fly by Geoff Tutty

Honours - Portrait Projected Image The Clown by Robyn Carter LPSNZ

Southern Regional Salon - 2017 Awards Honours - Photojournalism Up and over by Diana Andrews LPSNZ

New photographic project for secondary school students! THE BAYLEYS FOUNDATION New Zealand Secondary Schools’ Photography Competition (BNZSSPC) is a new project, initiated by two secondary school students, Petra Patterson & Sally Zhang. BNZSSPC is intended to serve as a platform which encourages passionate secondary school photographers to promote their photos, as well as participate in a friendly competition with likeminded students. This competition is unique in that it specifically caters to secondary school students; it aims to ensure that New Zealand secondary school students have an opportunity to explore their passion for photography in a competitive but fair environment. Students will take photographs relating to the competition theme, Wonder. These photographs will be judged by a panel of accredited judges from the Photographic Society of New Zealand Inc (PSNZ), short listing the top 20 photographs and then choosing 1st, 2nd and 3rd places. The top photographs will be on display for the people of Auckland to enjoy at the Bruce Mason Theatre from 10 February to 4 March 2018.

Camera hard cover book, and for the people’s choice a GoPro HERO Session and a GorillaPod Hybrid. BNZSSPC has partnered with businesses such as Bayleys Foundation (their primary sponsor) and other main sponsors including PSNZ, Panasonic, Bruce Mason Centre, Photogear, Joby and Lowepro. These brands have generously sponsored funding, prizes, or premises to BNZSSPC in order to support this initiative. For more information check out our website: www. nzsspc.com and our Facebook page: https://www. facebook.com/nzsspc or contact us on nzsspc@

gmail.com.

Sally Zhang and Petra Patterson Kristin School BNZSSPC Organisers

The theme for the first BNZSSPC is Wonder, meaning “in awe of” and chosen in order to motivate the youth of New Zealand to capture the beauty in their everyday lives. We want to know what inspires them, whether it is the fleeting moments of a kiwi summer or an act of human kindness. We want to encourage these high school students to seek and actively capture the Wonder they feel, and to find beauty in the ordinary, especially when the world is being portrayed in such a negative light. We often forget to look on the bright side of things, which is why a theme like this is necessary to remind everyone to appreciate our extraordinary world. Prizes will be awarded to the top three photographers and the people’s choice award. The first place winner will be awarded a Panasonic GX85 camera with a 14-42mm lens, a one-year PSNZ subscription, and a Flipside 300 AWII Lowepro bag. The second place winner will be awarded a Flipside 300 AWII Lowepro bag and a NZ Camera hard cover book. The third place winner will receive a GorillaPod Hybrid and a NZ

Wellington Photographic Society turns 125 WELLINGTON PHOTOGRAPHIC SOCIETY (WPS) celebrated 125 years with the opening of its annual exhibition. The evening was opened by past WPS member and esteemed New Zealand photographer Ans Westra CNZM. Included in the exhibition were a number of images from the PSNZ permanent collection which was put together by PSNZ patron John Boyd Hon FPSNZ Hon PSNZ APSNZ. All photos provided by Mark Berger APSNZ

Simon Woolf FPSNZ AIPP with NZ photographic legend Ans Westra CNZM

Before the rush, Ans Westra CNZM reads the history of WPS

WPS President Glen Innes with PSNZ Patron John Boyd Hon FPSNZ Hon PSNZ APSNZ

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

John Boyd Hon FPSNZ Hon PSNZ APSNZ welcomes the crowd and talks about the PSNZ permanent collection.

Keen interest in the images on display

Councillor profile:

Ann Bastion FPSNZ EFIAP recounts her amazing photography journey I ENTERED THE clothing trade, straight from school, and spent 40 years as a pattern-maker. During those years I indulged my interest in flowers and their shapes by painting them in watercolour. I had a little point and shoot camera which I used to record images I was going to paint later. Early in 2010 I thought I would try to understand a bit more about photography and attended a “How to turn on your camera” class with my little camera. This started me on my journey. I borrowed my father’s Nikon D60 SLR camera and purchased a macro lens for it. From that point I was hooked - it was like a new world! I purchased my own camera and began my exploration of the world of macro. I was encouraged to enter competitions and started to gain some acceptances. In 2011 I applied for and gained my Licentiateship. I tried for an Associateship the following year; it “failed” and I was very disappointed. I sat back and thought about it for a bit and realised that I had assembled the “A” set from a purely technical approach. I knew then that I needed to follow my passion in what I was creating.

Ann Bastion FPSNZ with Brian Cudby Hon PSNZ FPSNZ EFIAP ESFIAP

In 2014 I gained my Associateship with a set of tile shapes called “Flora’s Winter Profile”, presented like tiles, followed by my Fellowship set, “Flora Botanicals“ in 2015. This was a very busy time for me as I was also involved in club activities such as putting together the Laurie Thomas AV for four years, producing the end of year and other club certificates, and being a member of the NZ Camera team for four years. During this time, I had been entering overseas competitions and in 2013 I gained an AFIAP, followed by an EFIAP in 2015. In September that year I was appointed to Council to help reinstate the International Salon that hadn’t been run for 20 years or more. The Salon ran at the beginning of this year and, owing to the hard work undertaken by the NZIS committee, was very successful. In August this year I accepted the role of FIAP Liaison Officer, representing PSNZ as Brian Cudby Hon PSNZ FPSNZ EFIAP ESFIAP was stepping down. I was also accredited as a PSNZ judge. By the way, in amongst all this I do a bit of photography!

Cape gooseberry

Honesty

Columbine

Nicarda seed head

continued from page 61

Winter beech leaves

Poppy parade

Paper roll

White feathers

PSNZ Canon National Exhibition of Photography 2018 In conjunction with

entries are now open

for the PSNZ Canon National Exhibition of Photography 2018 Important dates

9th February 2018 3rd March 2018 19th April 2018 Important information There are four sections: Prints: Open and Nature Judging Panels:

entry closing day selection day Convention begins Projected Images: Open and Nature

Open Prints Scott Fowler FPSNZ EFIAP PPSA SPSA , Ann Bastion FPSNZ EFIAP, Kevin Tyree APSNZ Open Projected Images Newell Grenfell Hon PSNZ FPSNZ FNPSNZ, Jenefer Reeve APSNZ, Ian Walls FPSNZ Nature Prints and Projected Images Craig McKenzie, Julia Home APSNZ EFIAP, John Reid APSNZ ANPSNZ AFIAP Entry Fees: PSNZ Member $30 for first section and $20 extra per additional section Non PSNZ Member $37.50 for first section and $20 extra per additional section How to enter Click on this link http://2national.psnzconvention.org.nz/online-entry-form/ Your exhibition is being hosted by Dunedin Photographic Society. We look forward to a magnificent exhibition and your support to help us achieve this. For assistance please contact or

Convenor David Steer Natex2018@gmail.com Secretary John Casey Natex2018secretary@gmail.com

SUCCESSFUL FIAP RECIPIENTS 2017 PSNZ is pleased to announce that the following members have been awarded, by the International Federation of Photographic Art (FIAP), the distinction of Artiste (AFIAP). Congratulations to them and all the work they have put into achieving this. •

Carolina Dutruel APSNZ

•

Carolyn Elcock ANPSNZ

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Karen Thorne APSNZ

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Brett Walter

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Daniel Wong APSNZ

Ann Bastion FIAP Liaison Officer for PSNZ

Benefits of PSNZ membership include

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Meeting and forming friendships with likeminded people, sharing and expanding ideas.

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Discounts for Society activities including reduced entry fees for the PSNZ National Convention held each year.

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Discounts at some NZIPP events.

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A copy of the New Zealand Camera book with a retail value of $69.95. (Members are entitled to submit images for selection in this prestigious annual publication.) Additional copies are available for order online via the PSNZ website, at a members special price.

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Enjoy CameraTalk, our regular online newsletter. It contains news, reviews, events and some of the best photography around. Members are entitled to submit a portfolio of images for consideration to achieve the higher Honour distinctions (APSNZ or FPSNZ).Your photographic quality, consistency, and competency are recognised and you can display letters after your name.

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Members are entitled to enter Canon Online, a bimonthly online competition with trophies for each round and the overall winner each year.

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Members are entitled to attend Judge Training Workshops at no cost.

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Members are entitled to promote their individual websites on the PSNZ website.You can receive a link from our site to your personal website.

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There is access to the website Member Area. Access is available to online submission forms and many resources.

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Members are entitled to access online help sheets.

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Members are entitled to join print circles, helping to improve photographic skills and promote friendship.

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Join the PSNZ Facebook page for social chat with other members; keep up to date with news and happenings on the public PSNZ Facebook page.

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Receive regular Blog posts and stay up to date with the latest news on events, activities and special offers through bulk emails.

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Enjoy product discounts or savings.

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PSNZ members are entitled to discounts in camera equipment insurance via the ‘focus plus’ product. This is arranged through Rothbury’s Insurance Brokers on the same basis as NZIPP.

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From time to time members receive offers from our corporate partners and associated companies.

Coming up - the Interclubs AT THIS TIME of year most clubs are focused on winding up their years and closing down for the January break. Before you do, maybe do some planning towards entering the four interclub salons that always sneak up on everyone. The salons are: • Bledisloe Cup (print images) • Wiltshire Memorial Cup (digital images) • Bowron Competition (digital landscape images) • George Chance Interclub (print landscape images) All have very similar rules in that they are open to any affiliated club, and require four images with each made by a different photographer. While the exact closing dates have not yet been advised, the rules state that it shall be not more than seven weeks before the opening date of the National Exhibition. As the exhibition opens on April 19, this means the closing date will be around 1 March 2018. The timing of this also means it falls into the period when photographers are preparing their own entries for the National Exhibition and Honours submissions.

The last image

As seen on TV! Wisteria Cottage at Upper Moutere, Nelson This iconic derelict cottage is owned by a local artist who retains it for its unique character, especially seen in the spring. Barry Doig FPSNZ AFIAP photographed the cottage on his Nikon D7100, using a five exposure bracketed HDR method and post processing in Photomatix and Photoshop Elements.