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
June 2022
In this issue Mark Chamberlain LPSNZ
PRESIDENT
Paul Whitham LPSNZ m: 021 644 418 e: president@photography.org.nz
The June 2022 issue of CameraTalk features a diverse range of topics, including a feature on macro and close-up photography, updates on PSNZ workshops and field trips and PSNZ and camera club news.
SECRETARY
• In addition to the regular President’s article, Paul Whitham LPSNZ contributes an interesting article on the use and pitfalls of titles attached to photographic images for exhibitions and assessments. • A feature on macro and close-up photography with contributions by members on: 1) macro photography on a budget, 2) the creative and abstract applications of macro and still life, 3) the use of macro techniques in product photography and 4) vintage close-up photography. • A PSNZ member profile • PSNZ 2022 field-based workshops update. Workshops include different genres and cater for all photography skill levels, from novice to advanced. • FIAP updates • Salons and local conventions • Judge Training updates • Canon Online Round 2 results
Chryseis Phillips m. 021 0277 6639 e. secretary@photography.org.nz
EDITOR & ADVERTISING Mark Chamberlain LPSNZ m. 021 502 354
e. michamberlain@icloud.com
SUBEDITOR
Lindsay Stockbridge LPSNZ
t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz
GRAPHIC DESIGN
Ana Stevens APSNZ m. 022 193 1973 e. anci.stevens@gmail.com
NEXT CAMERATALK DEADLINE 25 July 2022 Email your contributions to the Subeditor. 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: Alone - Linda Chisnall
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Next Issue (August 2022) We plan to run special features on landscape photography in conjunction with the results of the Laurie Thomas Landscape Salon. We welcome any potential contributions to the issue. Articles may be on landscape techniques or member projects, including all genres of landscape – classic landscapes, astrophotography, drone and aerial photography, and urban and architectural landscapes. The deadline for submissions is 25 July.
Content Key dates for the diary
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Eye for detail
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Interclub competition results
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Macro photography
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Macro — A seasonal addiction
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Commercial macro photography
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FIAP news
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PSNZ Workshop series 2022
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What's in the title — Personal view
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Canon Online — Results
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A Note from the President It is hard to believe that we are already into the sixth month of 2022, and the cold mornings tell us that winter has arrived. For those interested in astrophotography, this is the time of year when the night sky comes into its prime period for capturing the Milky Way. We are also entering a busy period, with the Workshop Series in full swing and Judge Training sessions running around the country. If I am honest, I was a little disappointed with the turnout at the AGM held in April. I know that some people do not like the online format; however, that will be how we will run them in the immediate future. From the comments received, members appreciated that they could attend the event without attending a convention. From the attendance rates relative to the convention delegates, it became clear that most delegates did not want it there and voted with their feet. The attendance at Christchurch was only 42% of the delegates, and the rate at Hutt was only just above 50%. While we recognise that we will never find a time that will suit everyone, for the 2023 event, we will survey members to try to find a time that suits most of those who plan to attend. The online presentation of the PSNZ Sony National Exhibition went very well, and once again, I thank the team behind the event. The AVs for each section are now available on the PSNZ Website, along with the catalogue.
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... A Note from the President Following the AGM, Council has received questions about the decision to locate the convention in Lower Hutt, beginning in 2023 and running for three years at the same location. We also received questions about the decision to shorten the length of the convention and rule field trips out in the process. These decisions resulted in some members questioning whether to continue their PSNZ membership. The convention decisions were not made lightly. They were made after a two-hour meeting of the Council to discuss how we would organise future conventions. This followed several years of difficulties in obtaining club involvement in the organisation of national and regional conventions, as well as problems encountered when trying to remote-plan the 2022 National Convention that unfortunately could not proceed. The lack of club support left the Council in a difficult position. Either we simplified the event to make it manageable for our committee of volunteers to run, or we gave away conventions as an event. Given that conventions have been an integral part of PSNZ since its inception, we chose the first option. Holding the convention in the same place for three years gives us certainty about location and a better price than a singleyear booking. We recognise that some members build the convention into their holiday programme and will not be pleased that the variety of locations has been removed. However, we also know that many members simply attend the event for the programme. We have decided that the programme is more important than the location. It is not unusual for national conventions to be held in the same place for several years, especially as many locations in New Zealand do not have the facilities to accommodate all of the convention needs. Regarding the length of the convention, it is true that the core part of the programme has been shortened to make it more attractive to members who are working or have other
commitments. When members were last surveyed about why they did not attend conventions, the single biggest reason was that they clashed with other events. We hope that by shortening it, then more members will consider attending. I know from experience that organising field trips within the convention timetable is one of the most significant components in terms of the work and expense involved. It was deemed too difficult to plan with a small remote committee. Field trips have not been removed completely. Instead, we are passing the responsibility to a separate group, and the trips will be run on days before the convention and will be booked separately. This will allow more time to be devoted to them, allowing members to enjoy photography at the best time of day in the best light available. It will also allow for field trip locations further away from the venue and, therefore, could not be considered in, say, a four-hour window that recent convention planners have allocated. The Council is aware of member concerns, and we are listening, but we would ask that members give us a chance to continue to bring you a National Convention that the Society will be proud of and keen to attend. Finally, I congratulate all those who were successful in having an image submitted for the 2022 edition of New Zealand Camera. In many ways, this is harder than having an image selected for the National Exhibition. I also wish the best of luck to those who submitted Honours sets in February. At the end of June, the Honours Board will come together and assess them, so the wait is not much longer. Paul Whitham LPSNZ, President
Club News If your club has information or events that you would like to share, email the details to Lindsay Stockbridge LPSNZ at dilinz@actrix.co.nz
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Key Dates for the Diary June 11 & 12
PSNZ Workshop: Landscapes with Meghan Maloney - Coromandel
June 18 & 19
Judge Training weekend - Hibiscus Coast
June 25
Canon Online Round 3 closes
July 15 & 16
PSNZ Workshop: Landscapes with Meghan Maloney - Queenstown
August 5 & 6
PSNZ Workshop: Street / Urban with Helen Westerbeke FPSNZ - Wellington
August 25
Canon Online Round 4 closes
August 26 & 27
Astro Photography with Greg Stevens FPSNZ - near Auckland
September 10 & 11
Judge Training weekend - Merivale, Christchurch
October 1 & 2
Creative Portrait Photography with Karolina Ferbei - Tauranga
October 15 & 16
Judge Training weekend - Dunedin
October 22 to 24
Novice Landscape with Graham Dainty FPSNZ - Buller
October 25
Canon Online Round 5 closes
November 26
ICM (Intentional Camera Movement) workshop with Judy Stokes APSNZ - Miranda
TBA (Spring)
Bird Photography with Steve Attwood - Christchurch (easy access)
By Moira Blincoe LPSNZ
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Tulip
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Eye for Detail By Sara Bunny For Taupō photographer Peter Beazley, a great image is all about telling a story. Over the years, he’s switched from darkroom to digital, capturing everything from sports matches and motorbikes to portraits and landscapes with an expert click of the camera. Here, he shares some of his favourite shots and talks about life behind the lens. Peter was just a teen when he started with photography, and it was all thanks to his mum’s clever compromise. ‘I was about 15 when I said I wanted to race motorbikes, and Mum wasn’t having any of it,’ Peter remembers. ‘So she went out and bought me a second-hand box Brownie camera and said I should photograph them instead. ‘I started taking photos down at the motorbike track in Ōhope. They weren’t very well received by the local camera club, although my work back then was pretty average, to say the least! But I stuck with it and quickly developed a real passion for photography.’ On his wedding day, Peter was lucky in more ways than one. Not only was he marrying Lyne, but their wedding photographer also mentioned that he was looking for a part-time staff member, and Peter jumped at the chance. Between family life and a full-time day job in food manufacturing, Peter honed his camera skills, learnt to use a darkroom, and soaked up all the advice he could get from fellow photographers. These days he’s swapped the darkroom for the digital process and branched out to a range of new techniques, but he still remembers some key advice that stuck with him. A good friend of mine said, “Always make sure a photo says what you want it to say." It’s about telling a story, and at the same time, it’s a photographer’s job to work with the technical factors to get that story across to the viewer. I think there’s a difference between looking at something and seeing something. As a photographer, you don’t just look at a scene; you are focused on things like composition, lighting and creating a central point of interest that draws in the viewer’s eye.’ Peter has received honours awards for his work at several photographic salons, including Auckland’s prestigious North Shore Salon and
Solitude
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...Eye for Detail the Photographic Society of New Zealand National Exhibition. He’s owned many cameras since the box Brownie days and currently uses a Fuji X-T2 camera to create his stunning shots. With an expert eye for different ways to capture an image, he’s been experimenting lately with techniques such as macro photography (close-ups of small objects) and intentional camera movement, where the photographer uses movement to create a painterly effect. ‘There’s quite a lot of trial and error, and you learn as you go,’ he says.
Avanti Flyer
A recent favourite was an image of a fisherman in a kayak, which Peter captured after braving a chilly Taupō morning. ‘It was really foggy that day, but I decided to go out to see if I could strike it lucky, and I was really happy with the shot. I think you have to make your own luck as a photographer, because if you don’t get out there and try, then nothing will happen. You have to persevere; I might go back to the same place two or three times to get the best image, as you need to work with lighting and weather changes.’ The Summerset by the Lake resident, who is a member of several photography clubs, says heading out in search of a photo is an ideal opportunity to unwind and have some thinking space. ‘You go out with a group sometimes, but you’re often by yourself too. It can get lonely, but those early mornings or quiet evenings are so peaceful. You get to contemplate, take in what’s around you, and really enjoy the beauty of the scene.’ This article was originally written for and published in the Autumn 2022 edition of Summerset Scene, the quarterly magazine from Summerset Villages. Meredith Kessler Summerset has 31 villages across the country and offers a range of retirement options, from villas and apartments, assisted living, care suites, and industry-leading memory care. More than 7,000 New Zealanders call Summerset home and enjoy the peace of mind that living in a modern and friendly retirement community brings. To find a village near you, visit summerset.co.nz. Thanks to Jono from Empire Films and Rachel Hume LPSNZ for their photography.
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Lines
Semblance
Sunrise - Ohope Beach
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EOS R6
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1 Reader’s Digest NZ Most Trusted Brand Surveys 2017-2022. 2 Applies to Canon Mirrorless, DSLR, Digital Video Camera & Lens purchases from Authorised Canon New Zealand Dealers from 25th November 2019.
Interclub Competition Results Many thanks to all the clubs who submitted for these prestigious interclub salons this year. We look forward to being able to hold all the interclub salons again next year, including the Bledisloe Cup and George Chance Landscape Print Cup print salons.
Bowron Digital Landscape Trophy This trophy, donated in 2006 by Christchurch Photographic Society, replaces the original trophy which was first awarded in 1981. It is intended to pay homage to the original which took the form of a framed print by F L Bowron FPSA ARPS. Congratulations to Christchurch Photographic Society, winner of this prestigious salon.
1st - Christchurch Photographic Society 2nd - Kapiti Coast Photographic Society Wiltshire Digital Image Cup The Wiltshire Memorial Cup was first donated in 1947 as a memorial to Ernest Edward Wiltshire of the Christchurch Photographic Society for an interclub slide competition between Christchurch, Waikato and Nelson clubs. It was handed over to PSNZ in 1953 for a national interclub slide competition. Congratulations again to Christchurch Photographic Society, winners of the Wiltshire Salon.
1st - Christchurch Photographic Society 2nd - Auckland Photographic Society 3rd - Ashburton Photographic Society
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Bowron Digital Landscape 1st - Christchurch Photographic Society
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Bowron Digital Landscape 2nd - Kapiti Coast Photographic Society
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Wiltshire Digital Image Cup
1st - Christchurch Photographic Society
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Wiltshire Digital Image Cup 2nd - Auckland Photographic Society
3rd - Ashburton Photographic Society
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Macro Photography Special Feature By Mark Chamberlain LPSNZ
Close-up and macro photography continue to be popular with photographers of all levels. Whenever I attend monthly competition nights at my home-based camera club in Perth, Australia, I see an abundance of macro photographs, usually revealing the intricate details of a bug or insect’s head and compound eyes or the geometries of a flower or plant. I admire these photographers' technical prowess and patience. It’s a unique genre of photography, almost a different world, and I am astonished by many of the colourful and detailed images these photographers produce. Practical applications include product detail shots, food photography, and technical illustration. In this issue, we have a concise article by Brian Barrett, who undertakes macro photography for a jewellery business. The fun and artistic motivations are undeniable: flowers, insects, creative abstract, and the excitement of discovering the hidden worlds found in everyday objects. Macro photography refers to photographing at high magnifications. This may involve using a specialised macro lens designed to capture detailed, close-up photos. Technically speaking, a true macro photo creates an image on the camera sensor that’s the same size as the scene in real life, also known as 1:1 magnification. So, if you were to photograph a centimetre-long flower, the flower would need to take up a centimetre of your camera sensor.
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But in general, the term “macro photography” is much broader. It includes true macro photos and close-up images of flowers, insects, leaves, food, etc.
Macro photography on a budget Macro photography can be an expensive undertaking. A good macro lens from big name brands such as Canon, Sony or Nikon will cost upwards of $1,000. Additional accessories such as flash rings will cost more. Many beginner photographers buy macro lenses thinking they will do macro photography, but often the lenses stay unused in the kit bag. Used lenses are readily available on the market. Alternatively, it’s possible to hire lenses and equipment from some dealers for a weekend or week at relatively affordable hire costs. There is an alternative and clever way to do macro or close-up photography effectively without abusing your bank account. This method will cost you no more than $20 to $30 and involves using your existing lenses. Just remove the lens from the camera and hold it backwards against the lens mount to gain a high degree of magnification. Any lens will do, but a standard lens or the lens that came with your camera will probably work best (e.g., 50mm or the 18-55mm kit lens). Although this is an effective solution, you should be aware that your camera and lens won’t be able to communicate with each other when using this technique. That means no f-stop adjustments or automatic focusing.
A complete version of “Macro Photography on a Budget” can be found on the following link: https://digital-photography-school.com/macro-photography-budget/
Here are the steps for using this technique:
A reverse (reversing) ring fits onto the front of this 18-55mm lens via the lens filter thread.
1. Press your camera’s lens release button to remove the lens from the lens mount.
There are several other ways to undertake macro photography using affordable adapters, including 1) the coupling of two or more lenses together, 2) the use of diopters, and 3) the use of extension rings.
2. Turn the lens around in your hand so that the front of the lens is facing the camera mount. 3. Carefully match up the front of the lens to the ring of the camera mount and hold it there when taking your shots.
Try this simple method of reversing your existing lenses; see where the results lead. If you are hooked on close-up and macro photography, you may think about investing in more expensive specialist macro lenses.
4. As with many macro shooting solutions, you’ll focus on your subject by moving the camera and lens toward or away from the subject, not by turning the focusing ring. When acquiring focus, you’ll be within two or three inches of your subject (or even less).
Affordable reversing rings ($20 to $30) To assist with this method, an adapter or reversing ring manufactured by a third party company (often in China) will allow you to mount your lens onto your camera in the backwards position. This inexpensive gadget (see image) is made to screw onto the front of your lens, similar to a lens filter. The other side of the reversing ring fits onto your camera’s lens mount. Make sure to buy a reversing ring that not only matches the filter size (thread diameter) of your lens but also matches the lens mount of the type of camera you’re using. Such adapters are readily obtainable from e-bay or amazon.com. 21
Macro—a Seasonal Addiction By Lorraine Gibb LPSNZ
I describe myself as a “butterfly photographer”, flitting from subject to subject and taking photos of anything that attracts me.
Astrantia
Floret of Queen Ann Lace
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Astrantia
My macro photography equipment includes: - Canon 7D with three macro attachments • 60mm f/2.8 macro. I have the aperture wide open (f/2.8 - f/5.6) • 50mm with Marumi extension tubes (31mm, 21mm, 13mm) individually added to the 50mm but sometimes using all three at once and often at f/1.4. The combination of all three gives extreme softness to the point of becoming abstract. • Lensbaby Composer with macro glasses, generally using an aperture between f/2.8 and f/5.6 but sometimes using no aperture at all. With my very old Composer, the aperture is controlled by inserting rings ranging from f/2.8 to f/22. If no ring is inserted, it gives nil aperture. These three macro options give me so much scope and variety. Other camera equipment for general photography includes: • iPhone 11, a decent camera which does handle macro, but I rarely use this function. I use the Portrait Mode occasionally; it will focus on a flower (or similar) and give a nice soft background.
Dandelion
• Sony RX10 Mk4, my go-to camera, is a fixed lens general-purpose camera which I love but seldom use for macro work. I’m certainly not a purist macro photographer, but I admire those who are. Image sharpness is not my priority in macro photography, and I rarely use a tripod. However, I occasionally prioritise sharpness and have even focus-stacked with some success.
Helebore
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... Macro—a Seasonal Addiction My great love is flower photography, and I love to create more pleasing soft ethereal-looking compositions. I avoid using strong colours; for me, soft colours work best for this type of photography. I try to keep the backgrounds simple, with no glaring features that can take away the beauty of the flower. When photographing flowers, it is not unusual for my husband to see my head rocking back and forward, in and out, with my finger poised on the shutter button, finding the sweet spot of focus and providing lovely background bokeh. But, in saying that, many of my compositions don’t have much of anything in focus.
Triptych of Lavenders
Collage of Gypsophila
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Agapanthus
Dahlia
Not having a multiple exposure function on my camera, but liking the multiple exposure look, I create them in Photoshop, giving me control of the final outcome.
Cacti
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...Macro—a Seasonal Addiction
Peony
A pear
A seasonal addiction is hunting out fungi; hard work for these old bones but worthwhile when viewing the tiny and often colourful fungi that come to life on the computer screen. Using a tripod is essential, as the forest floor can often be very dark. Getting down low to show the gills is worthwhile, and a small aperture (f/16 to f/32) gives a greater depth of field and sharpness. Apart from knee pads and tweezers, to remove unwanted debris, I always have a small piece of card covered with tinfoil in my kit to reflect light where needed. This simple tool can make such a difference when lighting up the gills of the fungi.
Orange Pore Fungi
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Split Gill Fungi
Quince
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...Macro—a Seasonal Addiction I love still life photography, especially in the cooler months when outdoor photography isn’t so appealing. I prefer simple, minimalist compositions, generally using what is available within my home. I use a lightbox and a light tent, but the floor (the less traditional Flat Lay Still Life), kitchen table or bench works well too. Keeping the backgrounds simple and unobtrusive is the key. My husband made a set-up against which I can drape plain or textured fabrics, scarves, wallpapers, or thin metals or wood. Very handy, but there are many options; even a plain wall can be a successful backdrop. Subtle lighting can make or break a composition, with shadows providing depth and interest. Adding a texture can enhance a composition; when doing this, I use a layer mask at varying degrees of opacity to keep the subject free or partly free of texture.
Plated Flowers
I also enjoy working on landscapes, but I’m just as happy pressing the shutter release in my garden. I gain satisfaction from seeking out abstract images in man-made and natural objects, and my latest passion is ICM (in camera movement) photography. Now retired, I live in a rural area just south of Timaru. I’m blessed to have a garden that keeps on giving, the Pacific Ocean at my doorstep, our amazing Mackenzie Country and beautiful lakes within a short driving distance.
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PSNZ Membership Benefits • Expert advice to help improve your photography. • The opportunity to achieve a higher Society distinction (LPSNZ, APSNZ, FPSNZ). • A complimentary copy of New Zealand Camera, and the ability to submit your images for selection in this annual publication. • Access to member only resources, including a member only PSNZ Facebook page for social chat and updates with other members. • The opportunity to enter the Canon Online Competition, with trophies for each round and for the overall winner each year. • Discounts for Society activities, such as the annual PSNZ National Convention, special workshops, international competitions and much more. • The opportunity to participate in regional club meetings and events, including the PSNZ Workshop Series. • A copy of our bimonthly magazine – CameraTalk, with news, reviews, events and some of the best photography around. • The opportunity to exhibit your work in exhibitions such as the PSNZ Sony National Exhibition, Regional Salons and other member only online competitions. • Access to judge training workshops at a reduced rate for PSNZ members. • Ability to promote your website on our website. • Receive our regular blog posts to stay up to date with the latest news on events, activities and special offers. • Product discounts and savings when they are offered from our corporate partners and associated companies. • Discounts for major NZIPP events as a PSNZ member.
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Members' Gallery
Underside by Gina McGauley
I'm Watching You by Marie Bilodeau LPSNZ
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Winters Coming by Linda Chisnall
Dandelion Colours by Trevor Lowe LPSNZ
Dreamy Autumn by Linda Chisnall
The Fruit Bawl by Trevor Lowe
The Gift by Deborah Martin LPSNZ
Nursery Spider Nymphs & Web by Chris Jardine
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Commercial Macro Photography By Brian Barrett
Every day, I take macro product images: a mixture of clients’ jewellery entrusted to me for work where I record before and after shots and my own manufactured items. The attached image is a 1ct octagonal diamond ring in platinum with four baguette diamonds on the shoulders that I have just finished for a client. The items are held on a small piece of clear wax on an opaque white sheet of Perspex, shot in a small lightbox with a top and bottom strobe and two Ulanzi fixed lights at the front. The strobes are triggered by a Yongnuo wireless controller. I usually use a Pentax 50mm macro lens but sometimes a Pentax 35mm macro. All the lights give me a shadowless image, but I need to reduce the light coming into the camera. Settings are f20, 1/125, 100 ISO, with a polarising filter. I processed the image in Lightroom and gave a slight vignette to contrast the white diamonds in white metal on a white background.
Brian Barrett BHB Designs Ltd brian@bhbdesigns.co.nz 04 476 4764 021 661 060
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Plated Flowers
Plated Flowers
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REGISTER FOR YOUR ROLL PAPER UNIT FOR $1
Purchase an Epson SureColor P906 printer and for $1 receive a Roll Paper Unit ( $299 RRP ) 11th April 2022 − 30th June 2022
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This offer is valid for purchases made between 11th April 2022 and 30th June 2022, through an approved Epson Reseller. Register your printer at www.epson.co.nz/promotions by 15th July 2022 & have your proof of purchase received by 29th July 2022 to receive your Roll Paper Unit for $1. All eligible products must be of New Zealand specification intended for sale in the New Zealand market place. One claim per eligible product per household or organisation. Not to be used in conjunction with any other offer.
PSNZ News Recently Approved PSNZ Judge in the Open Category It is with great pleasure that we announce that Gail Stent FPSNZ has been approved as a PSNZ Judge in the “open” category. Gail has been an AV judge for some time. She can be contacted at gail.stent@gmail.com. Congratulations to Gail. Caroline Ludford LPSNZ Chairperson PSNZ Judge Accreditation Panel
Two Judge Training Weekends! 10 and 11 September 2022 St Margaret’s classrooms, 12 Winchester Street, Merivale, Christchurch 15 and 16 October 2022 St Leonards Hall, 29 St Leonards Drive, Dunedin The start time will be advised nearer the date but is generally around 10:00 am. Lunch, morning and afternoon tea are provided on both days. A comprehensive manual is also provided. The fee for PSNZ members is $25.00. For those who are not PSNZ members but are members of affiliated clubs the fee is $60.00. This charge will become non-refundable two weeks before the date of the workshop. Register here: https://photography.org.nz/salons-galleries/judge-training-weekend-registration/ The class is limited to 30 people and we often have a waiting list, so book your place now! Janet Munnings LPSNZ LRPS Judge Accreditation Panel
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FIAP NEWS From Ann Bastion Hon PSNZ FPSNZ EFIAP MFIAP
The latest edition of FIAP News magazine 18 is available and full of great international photography. You can find it on the FIAP website https://www.fiap.net/en. If you scroll down the site, you will see it.
FIAP Biennial Submission In 2020, the FIAP B&W Biennial was cancelled due to Covid. The images members submitted were kept on file, and from these, we have selected a set called Recreation for our 2022 entry. This set has been printed and sent to Oman, where it will be judged on behalf of FIAP, along with the other countries' set submissions. Results are due in August.
FIAP Distinctions Checking Procedure So, you have been successfully entering international salons and would like to apply for FIAP Distinctions at some stage. Congratulations on your success in the international arena! The following article is important for anyone intending to apply for FIAP Distinctions. When checking applicants' dossiers for FIAP honours this year, I want to reiterate the importance of keeping an accurate spreadsheet. You must also keep your scorecards and catalogues for every salon in which you have had acceptances. Most catalogues are in PDF format now, so they should be easier to maintain than the old printed ones. When I receive your spreadsheet/dossier, it is my responsibility to look up and check every one of your acceptances against the FIAP database, which comprises acceptance lists supplied by every salon held under the Patronage of FIAP. This is the only official record on which FIAP bases its distinctions. When you receive the report card or catalogue, check that they have the correct spelling, name, title and country; things should then go smoothly with your application. If I find a FIAP number in your spreadsheet that isn’t the correct number for the salon it has been listed with, I have to find whether it is an incorrectly entered FIAP number or the salon has been incorrectly entered. Sometimes I can see where the error is and will suggest the correct number for you to check. If I can't find one or more of your entries on the FIAP database, I will ask you to check. It is important to have accurate proof of the entry in the form of a report card and/or catalogue entry. I had a situation where an applicant had entries not listed in the FIAP database, but he was able to verify his acceptances because he had his report card and catalogue. FIAP was then able to go back to the salon chairman and clarify that this was a mistake made by the salon when creating their salon file sent to FIAP’s database. It was then rectified in the database, and the applicant had his distinction granted. If you don't have evidence of your acceptances in the way of report cards or catalogues, it is far more difficult to trace where the error lies. So, please be diligent in your record-keeping; it will save you from the possibility of losing acceptances because of a lack of evidence. Below is a basic excel file recording all the details you will need for your application. In addition, you should have your report cards, and catalogues for reference should your acceptances not be on the FIAP database.
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Title
Salon
Country
FIAP number
Morning Dew
Narava
Slovenia
2011/066
Monarch butterfly emerging
Swansea
Wales
2011/142
Red berry pods/seeds
Swansea
Wales
2011/142
Turdus merula chicks
Swansea
Wales
2011/142
Crumpled
Toronto
Canada
2011/153
Spiral
Danish Digital
Denmark
2012/007
The pier
4th Finland International
Finland
2012/061
The yacht
Danube Exhibition
Serbia
2012/076
Lilies
Spanish Andorran
Spain
2012/087
Vibrant poppies
Spanish Andorran
Spain
2012/090
Leaf ghost
Sydney
Australia
2012/094
Leaf web
Sydney
Australia
2012/094
Monarch pupating
Narava
Slovenia
2012/103
Shadow play on bowl
Narava
Slovenia
2012/103
Ballet Shoes & Still Life by Karen Moffatt-McLeod LPSNZ
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PSNZ Workshop Series 2022 News from Karen Moffatt-McLeod LPSNZ, PSNZ Councillor for Workshops
We are about to embark on our second workshop of the 2022 Workshop Series, the South Island Astro Workshop with Joseph Pooley at Lake Tekapo. I look forward to seeing the Astro images from this weekend and the “exploration” images that this location lends itself to during the day. Then we have the rescheduled 2021 North Island Landscape Workshop with Meghan Maloney on the Coromandel Peninsula on 11, 12 and 13 June. Meghan’s South Island Landscape Workshop follows this in Queenstown on 15, 16 and 17 July. These workshops fill up quickly, indeed! We have also been trialling the “residential” type of workshop with PSNZ arranging the accommodation. We look forward to feedback after these workshops to see how people feel about this. In late June/early July, we will release the next lot of Workshops: • Street / Urban with Helen Westerbeke FPSNZ, 5 & 6 August in Wellington ̶ exploring Cuba Street and surrounding areas. A reasonable level of fitness is required for a lot of walking. • Astro Photography with Greg Stevens FPSNZ, 26 & 27 August. To be held in an area slightly north of Auckland. • Bird Photography with Steve Attwood – spring, in a location around Christchurch. Easy access for people, details to be confirmed. • Creative Portrait Photography with Karolina Ferbei, 1 & 2 October in Tauranga. Attendees will need laptops with Adobe Lightroom and Photoshop for the editing section. • Novice Landscape with Graham Dainty FPSNZ, 22, 23 &24 October, Buller. This workshop is for first-time workshop attendees and those who regard their level of photography as beginner/novice. • ICM (Intentional Camera Movement) workshop with Judy Stokes APSNZ, 26 November, Miranda. Birds, seascapes, etc. In addition to the 2-3 day workshops, we hope to bring a couple of one-day learning experiences to the Auckland area this year. The PSNZ website will have information about each workshop and its price. An email will go out to PSNZ members when registrations are open, as well as a notification on the PSNZ Facebook page. Once you have registered, you will receive in-depth information on the workshop. If anyone is keen to run a workshop in 2023, please contact me at workshops@psnz.org.nz We are starting to plan the 2023 series and looking for more facilitators and new subjects (as well as the always popular ones). Thanks to my team, Nicole Tai and Jayne Parker, and all the workshop facilitators who make these workshops memorable.
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What’s in a Title – a Personal View By Paul Whitham LPSNZ
One of the many skills you have to learn when submitting images for exhibitions or assessments is how to title your image. Unless you are entering images in natural history/wildlife sections, you are pretty much free to title them any way you like. Prior to the 18th century, most artworks were not titled because a work was commissioned and was a “oneoff”. Therefore, neither the artist nor the buyer needed a title. But as art began to be traded and reproduction methods improved, there was a need to identify individual images, so artists started to title their works. In viewing an image, there is almost a chicken/egg debate as to whether to look at the title and then the work or the other way around. Complicating it further, some assessors ignore titles altogether. This is generally because they either believe the image should stand on its own, or they don’t want the title affecting their perception of the image. That is not to say that the title the artist gives a work sticks. James McNeill Whistler named his most famous painting Arrangement in Grey and Black, No. 1: Portrait of the Painter’s Mother, because he wished to direct the viewer’s eyes first to the abstract pattern of its tones and only secondly – if at all – to the picture’s subject. ‘To me, it is interesting as a picture of my mother,’ he conceded, ‘but what can or ought the public to care about the identity of the portrait?’ Viewers did care about the portrait, however, not only because everyone responds to the emotional effects of the human figure, but because it is far easier to recall such a picture by what it represents than by a titular abstraction – especially when there happens to be more than one Arrangement in Grey and Black by the same artist. This painting has become widely known, of course, as Whistler’s Mother. To me, the title is much more than a way to catalogue an image. If it were solely for that purpose, we could simply use numbers. It is part of how the artist passes on some of their thought processes. For that reason, I generally look at the title before I look at the image. Titling your work can be a very personal experience, so I will not suggest ways of coming up with titles. However, from my experience in assessing images, there are four areas that I strongly recommend you think about.
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Titles that contradict the image This is where the title does not appear to match what we see in the image. Sometimes this is a deliberate act by the artist as they wish to provoke a reaction. In such cases, it is generally obvious that this is happening. What I am referring to happens when the title contains words implying you are likely to see something in the image. For example, in a recent assessment, an image used the term “zooming” in the title, but everything in the image was totally sharp. There was no motion evident in the image, which I would have expected. Unless you have some motion, a photo of a car on a racetrack shot at 1/8000sec will look exactly the same as one of a parked car.
Titles that have no relevance to the image Except for abstract/ICM images, if you are using the title to assist the assessor in determining what you were trying to achieve with the image, then try to make it relevant to what they are seeing. Otherwise, we can often question how the title fits the image, potentially influencing the final mark an image receives. For example, you can use the name of a location for a clear landscape image because that provides context; however, a location is not all that relevant when, for instance, used with a close-up portrait.
Titles that express your sense of humour Often, when my wife and I watch a comedy, and I am roaring with laughter, she asks, ‘Is that funny?’
That is because we each have a different sense of humour, which can extend to how we express ourselves. We may see something of humour while someone else will not. In a recent assessment, there was a very good image of a bee and butterfly on two flowers. The photographer had titled it with the first names of the presidents of Russia and Ukraine. It took me a long time to match the title to the image, and even then, it was a very tenuous link. We do see bees and butterflies as competitors with each other for territory. Also, unless you have a veggie garden, we generally have a positive attitude toward butterflies and bees. Had the bee been a wasp, we might have had a link, as wasps are considered invaders. That is not to say that you can’t be clever in your titles, especially in using puns or double meanings.
Titles that require prior knowledge to make sense Sometimes, an image we create will be inspired by or reference something we associate with other literature. They might simply trigger a memory for the photographer. In these circumstances, it is often tempting to use that memory to title the image. The issue with doing that is that if the viewer is not familiar with the background material, then the title will make no sense. For example, not everyone in New Zealand saw Peter Jackson’s Lord of the Rings; hence referring to Mount Ngauruhoe as Mount Doom will not resonate with everyone. Generally speaking, it is not a good choice if you have to know the background to a subject before it is relevant to what you are now seeing.
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LENS
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Seddon Shield Convention Nelson, 26-28 August 2022 Here's an invitation to all top of the south and West Coast PSNZ affiliated camera clubs and their members to attend the annual Seddon Shield Convention hosted by the Nelson Camera Club this year. This small convention is supported by Nelson, Marlborough, Motueka, Buller and Golden Bay Camera Clubs and Greymouth Photography Club members. It’s a chance to meet new friends, learn new photography skills, enter the Seddon Shield salons and join some early morning outings, including a trip to the Boulder Bank lighthouse. Submission of entries for the salons opens on 15 June and closes on 12 July. The convention will be held at the Cricket Pavilion, Saxton Sports Field at Stoke, with registrations at 5.00 pm on Friday 26 August. Farewells and last laughs at midday on Sunday. For more information on the salons and registration, please visit https://seddonshield.weebly.com/
Fishermans Wharf at Night
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Welcome to Our New PSNZ Members!
Maryjane Hillier Nicola Guy James Elam Samantha Cornish Ken Leung Alan Ofsoski Manojchandra Mishra James Glucksman Jen Stockwell John Perrin Donna Russell Ari Subramanian Dawn Dutton Jenny Fugle-Davis Debbie Gartshore Warren Mayall Jarrod Harris Simon Velk Rachel Spillane Jenny Whitcombe Lee-Stuart Boddington Jim Kelleher Bronwyn Kelly Mike Wilson Emma Hissey Robin Bush Sean Garelli
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Nelson National Triptych Salon 2022 Hosted by the Nelson Camera Club Entries open on 1 August and close on 31 August. A presentation of three images telling a story or complementing each other in some way creates a greater visual impact than that achieved with a single image. The three special awards this year are: The Road ̶ rural or residential, long and winding or straight and narrow, bustling or deserted, real or imagined. Roads come in all kinds, shapes, and sizes. Impress the salon selectors with your version of The Road. Cool Cats ̶ feline and furry or funky and fashionable, cuddly, and comforting or cold-blooded killing machines. What's your concept of Cool Cats? Monochrome ̶ with just one or no colour. Your entry must be very strong in other aspects to capture and hold the viewer’s attention.
Stretch your imagination, and have a go! Please visit https://www.nelsoncameraclub.co.nz/introducing-triptych.html and read the rules and other information before creating your triptych entries.
Like Cats and Dog by Michael Parker
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PSNZ Canon Online Photographer 2022 Round 2 Results By Paul Willyams APSNZ AFIAP MNZIPP, Canon PSNZ Online Coordinator
Congratulations to Jack Horlock, the winner of the Canon Online round 2 for 2022. There were 99 entries in this round. Jack writes about his winning image: ‘Shot at 0.5 Seconds, f/11, ISO 100 on a Canon 5D mk iv with a Sigma 50 mm f/1.4 Art lens, Canon Speedlite 600EXIIRT and Yongnuo YN-E3-RT Speedlite Transmitter; plus a Godox LST80 Light Tent frame and 3 led light boards. ‘The blurred path of the feather was lit by the led boards from the sides and front with the sharp image of the feather lit and frozen by the off-camera Speedlite positioned about 45 degrees from the subject. Although the image suggests that the frozen feather is at the bottom of its blurred path, the image has been flipped in post both horizontally and vertically. The sharp feather was captured by first curtain flash, and blur was captured from that point on. It all sounds quite simple and well planned, but I dropped that feather hundreds of times before I settled on the right shutter speed and flash duration, and got the feather to go where I wanted it to. ‘My photography journey started as a teenager in the late 70s with a Pentax SLR. At that time, I was also developing my own film and prints, but my interest dwindled over time as life got in the way. In 2015 I emigrated to New Zealand, and everything around me inspired me to pick up a camera again. In the last few years, I have been involved with the Whangarei Camera Club, and the regular competitions have helped me explore different genres and techniques.’ The judge for this round was Tony Gorham LPSNZ BPSA. Tony is a professional software developer and business owner who has had a love of art and photography for most of his life. He has been judging for a couple of years and is an active member of the Howick Photographic Society. Tony is a passionate portrait photographer and has been working on a series of vintage pinup-style portraits that he hopes to make into a book. See some of Tony’s work at www.nzvintagepinups.com. You can also view his work at www.tonez. co.nz and https://www.instagram.com/nztonez/
Judge’s Comments I was thrilled to be invited to judge round two of the 2022 Canon Online. As usual, the standards were very high, but the tricky part was separating the last 10 images into an order. Of course, we should not forget those images that just missed the cut as it is a very close-run thing, and I can assure you that it was not an easy process. The ten selected images are all fantastic; however, I had to look at how I responded to their emotions and stories.
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1st - Falling Feather by Jack Horlock This delicate and ethereal image transported me to a gentle and calm space where I could feel the soft breeze on my skin as the feather displaces the smallest amount of air. The treatment of the light in this image evokes a wonderful sense of movement and tricks the viewer into believing they are there in the moment. The composition is wonderful and tells the story of that movement, leaving us gently floating with the feather.
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... PSNZ Canon Online. Awarded Photos
2nd - Big Cussie in Charge Robin Short APSNZ This image leaps off the page and infects me with a smile. All three children are happy and engaged and perfectly placed to boot. I really love the treatment of this image; it has a classic, timeless quality that I would love to be able to emulate. I don’t know how the author has managed to get all three children to pose so perfectly; magic, I suspect. I really enjoy the tonal range and the peaceful feel this image has. One good portrait is a tough ask; three is mind-blowing.
3rd - Tāku Aroha Lynn Fothergill LPSNZ The connection and warmth in this image are palpable. Whilst we often want to see the eyes in portraits, here is the perfect example of why there are no rules. Of course, I am guessing that this is mother and daughter, but whatever the connection, I feel the connection. I feel this image, and that is all I need to know. There are the obvious cultural references and the symbolism that the circumstances provide, and that makes this interesting; they tell a compelling story. However, I feel this image, and that feeling, are the most compelling elements.
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4th - Old Oil by Dianne Campbell I find this to be very much in the style of the “old masters” paintings. The subtle golden colours and the use of negative space are handled expertly. I feel that good photography is like good music; it evokes an emotional response, often a memory. When I look at this, I recall being in the shed with my old dad, with soft light filtering in through a dirty window, making delicate shadows that sculpt the battered old implements. It can turn a collection of old oil cans into a beautiful piece of sculpture.
5th - Dahlia Patterns Sue Toneycliffe
Nature can be inspiring, and it can be magical, and it can be overwhelming. When we look at things differently, we see differently. This image shows the individual petals as they emerge and open from the centre of the flower. There are the most beautiful colours and delicate textures. It really does make me stop and marvel at the magnificence of nature. The author’s sensitive treatment of this and wonderful use of depth of field are to be commended.
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...PSNZ Canon Online. Awarded Photos
6th - Skimming the Surface by Judy Stokes APSNZ I love the tranquillity and serenity on display here. Intentional camera movement is one technique that is easy to do yet incredibly hard to do well. This image falls into the expert category. There is just enough of the bird to be able to fool us that it is simultaneously both sharp yet moving. It almost feels to be moving with a different rhythm to the water. The placement is perfect, the bird has room to move, and the movement in the wings tricks my brain into wondering if it is actually moving. The pastel colours take this image to the next level; I could happily have this in my home.
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7th - Lone Bird at Piha Brian Eastwood MNZIPP A soft, peaceful and utterly captivating image. I can picture myself standing on the beach, watching the light changing and being stalked by a lone gull. It is easy to see myself in this scene, unwinding after a tough day or rising early to get a good start. I can hear the water lapping in the background; I breathe in time with the water. If you listen, perhaps you can hear it too. Images like this transform me to a time and a place where I would very much like to be.
8th - 45 RPM Peter Rodgers LPSNZ Ahh, the memories. For those of us who are old enough, this was our childhood. I am a big music listener; this image speaks to me and my childhood. It evokes memories of a time when there was no internet, no Spotify or Netflix: an analogue time. A time when putting on a record was our form of escape. The geometric shapes reminded me of the famous photo of Igor Stravinsky by Arnold Newman. The choice of shutter speed is perfect for showing the movement, and the highlights on the record reinforce that movement to great effect.
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...PSNZ Canon Online. Awarded Photos
9th - Bench and Broom by Brian Turner LPSNZ I very much enjoy this simple story; it is well told. The image is quite flat and compressed, so it almost becomes a series of shapes and patterns. I feel that we can zoom out and see the individual elements and how they must relate to each other. The light on the broom, and the rich tones, contrast so very well with the blue wall. When I explore this very simple scene, I have questions. Who uses the broom, who sits on the bench and most importantly, what is around that corner?
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10th - Kissed by the Sun by Wendy Pemberton I must confess that I don’t really know what this is. How wonderful! I don’t know what I am looking at, and I don’t need to because it is exquisite. I think perhaps a Christmas tree decoration, but maybe not. The large ball in front has a somewhat crystalline structure that renders beautifully in the out-of-focus areas. The light falling on the clear ball is indeed kissed by the sun, and the way we can see it passing through to the other side is very striking. I can feel the warmth of the sun in this image.
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HELPING PHOTOGRAPHERS GROW
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