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
October/November 2019
In this issue PRESIDENT Moira Blincoe LPSNZ t. 09 379 7021 e: president@photography.org.nz
VICE-PRESIDENT
Karen Lawton t. 021 143 7764 e. vicepresident@photography.org.nz
WELCOME TO THE sixth edition of CameraTalk for 2019. With the country in the grip of Rugby World Cup mania this issue’s special feature is about sports photography. In addition to our regular columns, we also showcase the top images from the 4 Nations, Nelson Triptych and Creative Focus Competitions. We also report on Workshops 4 and 5 in the 2019 PSNZ Workshop Series.
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
Paul Whitham LPSNZ Editor
EDITOR, ADVERTISING & LAYOUT Paul Whitham LPSNZ PSNZ Councillor t. 04 973 3015 or m. 021 644 418 e. paul@pwfotos.com
SUBEDITOR Lindsay Stockbridge LPSNZ 14 Poynter Place, Whanganui 4501 t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz
CAMERATALK DEADLINE
The next CameraTalk deadline is 1 December 2019 Email your contributions to the SubEditor at his email address. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned. The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ.
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On the cover Mike Moran captures the final get together before tip-off in a Wellington Saints basketball game.
Editorial
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Canon Online results
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Sports photography special feature
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Convention updates
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PSNZ Workshop Series
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Audio-visual notes
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4 Nations
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Club news
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Salon updates
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Key dates for the diary
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HOLA FROM ESPANOLA, I write this sitting under a cabana of shade as protection from a 37-degree day with lethal sunshine. Chris and I have been travelling in Portugal, Gibraltar, Seville and down to Southern Spain - for the sole purpose of attending my son’s wedding. That was on Friday 27th so we are all in relaxation and recuperation mode now! As well as exploring what Lisbon, Porto and Seville have to offer, we have enjoyed much travel photography and of course street photography is plentiful with so many interesting travellers and locals. I think we have walked hundreds of kilometres over the last five weeks, exploring the narrow streets while dodging the trams, cars, buses and tuk tuks. Just as well, as the variety of tapas available in all three cities was putting added pressure on the waistlines. We have met some very interesting fellow travellers and photographers who were always keen to strike up a conversation, often initiated by asking about our cameras. I had purchased a new Nikon Z6 before leaving and have been really pleased with its ease of use. I haven’t downloaded any images yet so the proof will be in the pudding on editing!! In Gibraltar we had the pleasure of meeting Stephen Hermida, President of the Gibraltar Photographic Society. Although our time with him was limited, he expressed an interest in learning more about many of our programmes, specifically the Judge Accreditation Programme, the Honours distinctions and some of our salons. He is also interested in developing interclub competitions with some clubs in New Zealand, even though they already have
A note from the President a relationship with the Timaru Camera Club. He would also like to explore a miniconvention of some sort, with support from the Gibraltar Tourism Board. On our return we head to the Southern Regional Convention, in Invercargill, which I am very much looking forward to. As I’ve mentioned previously, there is nothing quite like the southern hospitality. The programme looks interesting and the workshops will be a highlight. Council will hold its mid-term meeting immediately after the convention, with an agenda already overflowing. Behind the scenes your PSNZ Council has been busy reviewing the way the National Exhibitions and the National Conventions are organised and hosted. The focus of our meeting will be to review and finalise the proposed recommendations for a new style of organising and implementing each event. (continued overleaf)
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We have earmarked 2021 as the year to introduce these recommendations. Naturally you, as a member, will be the first to know what is in store, well before then.
The President’s tenure is limited, and several Councillors wish to retire next year. At the moment we are struggling to identify skilled members who are willing to take up the mantle.
The New Zealand International Salon (NZIS) will have closed at the time of reading this, with judging taking place at the end of October. The committee has worked very hard to put the salon together and it will be exciting to see the results. With over 300 awards up for grabs, a lot of impressive images should be revealed.
So again, if you think you have the skills and some time that you can contribute to us, then please contact me at email president@ photography.org.nz
As our calendar year draws to a close, I take this column to remind you all the amazing work your Council members, and all volunteers give to the Society. Without them we just would not be able to operate effectively or efficiently or deliver the services that you all enjoy.
At this time, I welcome Colin Kropach from Auckland Photographic Society and former Chairman of the 2017 National Convention. Colin has accepted an invitation to join Council, with a view to managing the events portfolio from April 2020, when Councillor Vivianne Baldwin APSNZ retires from Council.
More importantly, we need additional skilled and talented members to put themselves forward for Council roles. Yes, volunteering can be time-consuming and tough but without volunteers the Society cannot grow and/or move forward. Unless we can shoulder tap members, as we have been doing, or members put their hand up, the Society will not be able to carry on in its current vein.
You can refer to the past two issues of CameraTalk to read full details of the portfolios and roles we have available.
And now the glistening water in the pool and the reduced heat of the sun are beckoning me – time to cool off. I’m looking forward to seeing many of you in Invercargill.
Adios, Moira Blanco LPSNZ President
New PSNZ accredited judge by Shona Jaray APSNZ Chairperson, Judge Accreditation Panel
Congratulations to David Smith FPSNZ who has recently been appointed as an Accredited PSNZ Judge – Category Open. David can be contacted by email – djs6nz@gmail.com or phone 021 216 1952.
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Editorial : PSNZ Honours - is it time for a change? By Paul Whitham LPSNZ
AT THIS TIME of year members who are serious about going for their PSNZ honours are likely to be well advanced in putting their sets together, but no doubt struggling to make a set of images that work together. As has been pointed out by other people the greatest level of difficulty exists with the A level. This is backed up by the high level of failures amongst sets submitted at that level. I have started an A set three times and have never got around to completing one, mainly because the more I read the guidelines and the more I looked at accepted sets, the more confused I became. I’ve held a number of discussions with Honours Board Chair Bruce Girdwood FPSNZ about what the required diversity expressed at this level actually means. Quite frankly, in my opinion the Board seems to say one thing and then demonstrate something completely different. Sets have been accepted that demonstrated very little diversity in the photographic techniques employed, however that is not to say that they were not dramatic sets.
Photography Tour Photograph the crowds and vitality of incredible Kolkata and the sacred city of Varanasi during the fun-filled Holi festival. We see tigers, leopards and more at Bandhavgarh National Park and photograph the big landscapes and soaring peaks of Himalayan Kashmir, the pearly beauty of Taj Mahal and the bazaars of Delhi. 20 days, departing on 4 March, 2020, small group (max 10), luxurious and hosted from New Zealand by Chris van Ryn, photojournalist and architect. We will also be accompanied by photographysavvy local guides. This is India made easy. Colour India has perfected this tour over the years and we love it.
Contact: elight@kiwilink.co.nz Ph: 09 4220111 Web: colourindia.co.nz
There is an inherent difficult creating guidelines, or even guidance, when you are dealing with a subject as subjective as photography. Over recent weeks there have been a number of facebook discussions about the Honours system and particularly whether it needs to change. Also built into this discussion is the challenge of what can be done to provide a set of honours above the Fellowship. I believe that some form of change is long overdue, but we have quite a range of options once you answer a fundamental question: What are we trying to assess with the system? I would argue that we are not measuring levels of skill in photography but rather we are measuring the ability of the photographer to put a set of images together. 5
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Our system is based on what happens within the Royal Photographic Society, but there are three very different aspects missing from our version. Firstly, below Fellowship level their assessments are held in public. Secondly, at the A level they have a number of panels; if you specialise in a genre, you are being assessed by those that can appreciate it. And finally, but most importantly, if a set fails because of a single image (L level) or two images (A Level), the photographer is given the opportunity to replace it before the final assessment is made. Therefore an entire year’s work is not affected by a single image. If we want to truly measure the overall skills of a photographer then we should move away from the set to a consideration of single images. NZIPP does this very effectively with their Iris Awards. Photographers enter images into various categories each year and, based on the level the images are assessed, earn points towards their levels. As you move up their levels the requirements are tougher. The points are valid for four years, so it is not a succeed/fail approach like we have now. A number of years ago a suggestion was put forward to move to a points system; however that was based on earning points through entry into a number of salons such as Regional and National Exhibitions. That idea faltered, and the biggest issue with such an approach is that judging is not consistent between events. If PSNZ wanted to go down this line then we would have to create something like the NZIPP system with a specific event such as the Honours Board session similar to what we currently have. If we want to retain a portfolio based approach, then I would suggest we look at making our system more like that of the RPS.
Australasian harrier confrontation by Bevan Tulet FPSNZ 4 Nations Honourable mention and Silver Medal
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PSNZ Canon Online Results from Round 4, 2019 THANKS EVERYONE FOR your entries in round 4 of Canon Online 2019 and for your patience, waiting on tenterhooks to see the results. Well, the wait is finally over! There were 90 entries in this round, and it was great that so many sent in correctly named and sized images. Our selector for this round was Michael Boyd-Clark APSNZ of Auckland. Michael has been out of action with a medical issue over the last few days, so I’m sure you will join me in offering our sincere thanks for his efforts in working through these images and our best wishes for a speedy recovery. As usual the 90 images covered an incredible spread of genres and it is a joy to see the fantastic work of my fellow PSNZ members. Unfortunately four images had to be disqualified (outside competition image sizing). I have tried to send everyone messages when your image is not correctly sized (1620w x 1080h pixels maximum) and I am working on a revised entry system for next year. Hopefully that will make everyone’s lives a lot simpler when entering images, but in the meantime please refer to the rules and notes on image entry, or watch my video if you need a hand: (https://www.youtube.com/ watch?v=d59G9IrwCC0&t=13s). There is plenty of time to work on your images for round 5. The system is open for entries now and will close on 25 October, just after the Southern Regional Convention. Anyone heading down to Invercargill is assured of a great social weekend, and I’m looking forward to seeing you there!
James Gibson APSNZ EFIAP PSNZ Canon Online Coordinator
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Comments from the judge:
Michael Boyd-Clark APSNZ
In making my selections I was guided by the immediate and emotional impact of your image.
1st Pure joy by Lynn Fothergill LPSNZ An absolute joy to behold! The happy emotion emanating from this delightful image is almost tangible.
2nd Autumn in Hagley Park by Jo Curtis LPSNZ I found myself immediately impacted by this image. The essence of autumn is depicted, with composition and colours I could gaze at for hours.
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PSNZ Canon Online: 3rd Dancer by Penny Kennedy LPSNZ The simplicity, the form and the colours in the image combine to create a most interesting abstract.
4th Kaiaua Beach races, East Coast by Louise Savage LPSNZ Great energy and movement are depicted here. The horse and rider almost jump out of the image. Great use of differential blur. Fantastic action.
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5th Kolkata fishermen by Bob Pullein I find the understatement of this image to be really appealing and satisfying. Negative space, the high key effect and the absence of clutter allowed me to get lost in the spirit of the event.
6th Blue poppy by Dawn Kirk LPSNZ This image is almost three dimensional! The colours complement each other against the stark black background. Sharp focus throughout makes this image really pleasing.
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PSNZ Canon Online: 7th St Monan’s breakwater by Richard Laing Clever exploitation of the leading lines makes this a satisfying image and the sharp focus throughout makes for a peaceful scene to be dwelled upon and enjoyed.
8th Down under by Terry Bruning LPSNZ Night-time images taken from under the Auckland Harbour Bridge are presented quite often but the composition here is unusual and successful. Great symmetry has been achieved by placing the bridge in the centerline though a degree of tension is achieved by the weight of the city being to the left. A pleasing, peaceful image.
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9th Atrium view by Annette Johnston APSNZ Very different from the norm, this abstract has immediate impact. The stark black and white with the melding lines and curves make this image stand out as something special.
10th Waterfall magic by Lisa Blomquist LPSNZ An unusual and unconventional composition, but effective all the same. The repeating radial patterns emanating from the base of the main waterfall are particularly pleasing.
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Sports photography - special feature WITH THE RUGBY World Cup upon us, the nightly news reports are dominated with sports. Therefore we thought it appropriate to cover sports photography in this edition’s Special Feature. In the first part CameraTalk editor Paul Whitham shares tips on shooting sports. The article contains both his experience, and excerpts from a series of articles written by San Francisco sports photographer Matt Nielsen. In the second part we interview Wellington based freelance sports photographer Mike Moran.
Image by Mike Moran
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Tips on sports photography by Paul Whitham LPSNZ
Before you get to the game...
Learn the rules It is important to understand the rules of the sport you are planning to photograph, and also how it normally flows. The better you know the game, the better your pictures will be, primarily because you will be able to anticipate the action better. You must be proactive, not reactive. If you are reacting to action happening on the field, then you have already missed the shot. Learn the rhythm of the sport and look for signs of impending action. However, just because you are a great photographer in one sport doesn’t automatically translate across to others. A number of years ago I had the opportunity to shoot sideline at a Wellington Phoenix game. Standing beside me was the iconic rugby photographer Peter Bush. Peter hardly ever shot soccer, so I ended up explaining soccer rules to him as we shot side by side, as he was having difficulty tracking the action.
Equipment If you have been to any major sports events you will have seen the professional photographers with their expensive cameras and long lenses and thought, I could never afford that. Now, while good sports photos are often taken with good camera equipment, good camera equipment does not necessarily make for good sports photos. It is how they are used that makes all the difference. The sports, and locations where they will be shot, play a huge part in the gear you need. If you want to capture action in a field sport (such as rugby or cricket) then you need a long lens (300mm +). However, if these games are being played in daylight then you can get away with a kit zoom lens. If they are being played under lights at a stadium then you need fast glass (f2.8-f4.0). Alternatively court games, such as basketball, can be shot with a 50mm lens - but it will need to be fast. The choice of full frame, versus crop is up to the individual, but in sports the APS-C and micro four-thirds cameras do give you the advantage of extra reach in the lens. One thing that is really important, if you plan on shooting fast sport, is how many frames per second the camera can shoot and how many images the buffer can hold. Sports photographers by Ronnie MacDonald
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Learn to use your camera It goes without saying that if you are new to photography, then you should spend some time getting to know your camera. Shooting in full Auto leaves you with little control over the quality of your images. Sports photography and nature photography have a lot in common in that you will be shooting objects moving fast, and they may not show predictable behaviour. If you know what your camera can do it will let you focus on the action rather than the settings. Understanding how shutter speed, aperture, and ISO affect your images is crucial to taking your photography beyond snapshots. For sports photography, you will usually have a fast shutter speed, a large aperture, and a variable ISO depending on the lighting. Jump by Paul Whitham
Assuming that you want to freeze action, then your camera’s shutter speed should be between 1/500s and 1/2000s. The faster your subject is moving, the faster your shutter speed should be. I would also suggest that you practise learning to hold your camera, especially if you plan on using large lenses shooting at their maximum focal length. Getting tack-sharp focus on your subjects is one of the differentiators between a novice and a senior. Here are some tips from Matt Nielson: • Use continuous autofocus (AF) if it is available on your camera. It will continue to track a subject once locked on. • For small, fast subjects use dynamic focus point selection. • For large subjects or in situations where objects frequently get in front of the subject (think water droplets in swimming) use single-point AF. • Use back-button AF. The idea here is simple: separate your shutter and your AF activation. Allowing the shutter button to control both results in focus going where it should not. • Adjust the location of your primary AF point to get proper framing, but remember that some focus points may not be cross-type (detecting horizontal and vertical lines).
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Obtain the necessary permissions Before going to any game it is important to determine if there are any restrictions on photography. For example, at a lot of paid sport events you may be able to shoot with small cameras but anything that looks professional will not be allowed. Even at free events there may be restrictions on where you can stand, or they may have official photographers who have an existing arrangement with the organisers. When dealing with children’s sport you may be questioned about why you are doing this; obtaining permission from the organisers (even if not necessarily needed) often helps. The promise of returning some good images to the organisers at no charge can often get you access to areas you would not otherwise be able to reach.
When you get to the game...
Plan your shooting positions Where you can stand in a game depends on what conditions are set by the organisers as well as any safety concerns. For example, at major sporting events some of the photographers will be allowed to roam, whereas others will only be able to shoot from a fixed position during each half. Even at school rugby games areas will be roped off. Try to be in a position that has your subject facing you, but if shooting outside you want to also ensure that the sun is to your back or side to ensure proper exposure. This is a balancing act that in reality takes a lot of trial and error, and the run of the game may not help. I once shot a women’s rugby game where all of the action was at one end of the field and that meant shooting into driving rain. In general, it is advantageous to stay lower than your athletic subjects in order to make them appear more powerful.
Scoring the try by Paul Whitham
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Setting up the camera Metering/exposure The actual camera settings will depend on the type of sport and location that you are shooting in but, assuming that you want to freeze the action, I would recommend that you set your camera in either one of two options: • If the lighting is reasonably consistent across the whole arena, and is likely to stay the same throughout the whole game, then I would use manual. I would set the shutter speed to the slowest I deemed necessary, set the aperture as wide as I could get it, and then adjust the ISO to achieve the exposure. • If the lighting is inconsistent across the whole arena, and is not likely to stay the same throughout the whole game, then I would use shutter priority. I would set the shutter speed to the slowest deemed necessary and then set Auto-ISO to achieve the shutter speed I wanted. • Where you have inconsistent lighting across an arena I would also ensure that I was using spot metering.
Raw vs Jpeg Generally speaking we are told to shoot RAW as it gives us much better control over the final outcome. While it still hold true in sports, the majority of sports photographers shoot JPEGs for the following reasons: • The files are smaller and therefore you can get more of them on a card. • The smaller file size also means they write faster, meaning that you can take more before the camera’s buffer fills up. • The photographers are generally turning the images in very quickly and therefore very little post processing is done, with cropping being the main action.
Saints basketball game shot with a 50mm lens by Paul Whitham
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Shooting the game The aim of a sports photographer is to record the events unfolding at an athletic competition. Photography, even in the context of sports, is a creative pursuit, meaning that no “rule” or “formula” can definitively establish whether or not an image is satisfactory. Matt Nielsen has a few guidelines that will help you understand why some sports images succeed while others fail. 1. Focus. The subject must be sharply in focus, especially the face. If the subject is even slightly out of focus, you should throw out the image. 2. Face. Humans connect with others when we see a face, especially eyes. Shooting an athlete’s back simply does not work. 3. Action/emotion. Athleticism or an emotional outburst is the core of a sports photo; the more intense, the better. 4. Equipment. If the sport you are shooting uses a ball, bat, racquet, or any other form of equipment, it is good to show it being used in your photo.
Pay attention to what is going on around you For your own safety, it is best to keep your head on a swivel while at the event. Checking your pictures (chimping) or looking at your phone is a good way to get hit by a ball or for a player to crash into you. Generally you will see photographers checking their cameras only when there is a break in the play. Sports photos can be grouped into two buckets: sportraits (a single athlete participating in the sport) and stories (a group of athletes doing something noteworthy). Look for emotionally charged moments, like a team celebrating their victory or two runners neck-and-neck as they approach the finish line. Also, in telling the story of the game it can be quite good to get photos of the coaching staff, sidelined players or the audience.
Crowd action from the Wellington Phoenix by Paul Whitham
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Mike Moran: a passion for sport! By Paul Whitham LPSNZ Mike Moran is a Wellington-based freelance sports photographer. He is a Hutt Camera Club former member who has taken a passion for sport into something that he can earn money from. CameraTalk interviewed Mike.
How long have you been shooting sport? I have been shooting sideline for eight to ten years. I can’t actually remember how long. I have covered a range, from major sports such as rugby (both 15s and 7s), soccer, basketball and netball, through to much smaller sports such as skateboarding and rollerblading. What attracted you to sports photography? When I was given the opportunity to shoot sport I discovered that I enjoyed the challenge of capturing the contest, and the elation and emotion of the event. Who do you shoot for? I shoot for a Wellington-based photo service, run by Dave Lintott, with the images being sold to teams for use on websites and social media. Depending on the use I will receive between 50 and 75% of the proceeds from each image used. What are your thoughts on gear? Make sure you have a reasonably fast lens, rather than worrying about the bodies. You will still get good images out of a reasonable budget-priced camera when you pair it with fast glass. I prefer primes to zooms. What lenses do you use? I mainly shoot on 300mm f5.6 and am working towards a 400mm F2.8 prime. I have also shot with 500mm and 800mm lenses although the latter was very difficult to use. With whatever lens it is important to keep checking your exposure to keep the shutter speed up. I use ISO to achieve this. When you started you had more kit gear. Did you get much stick from the other photographers at the stadium? It did happen at the start, but once they saw what I could shoot with my gear, they shut up. Also, in recent years more people have been using smaller lenses from other systems.
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RAW or JPEG? JPEG, because I want the larger storage capacity and I don’t do much post-processing to the image. What is your main workflow at the game? When I get to the game Dave will tell me what sort of images he is after, or the areas that he wants me to concentrate on. If I am able to, for the first five to ten minutes I will walk around the field to see how the game is going and if one team is dominant. I will then position myself for the rest of the half. During the break I will download all of the images from the half and make a selection from them. After the game the second half is downloaded. Does this differ from what other photographers do? It is fairly similar, although the guys from Getty & Photosport have laptops on the field and are downloading all of the time. How important is it to know the game? It is very important to know the sport with such key questions as •
Who are the players?
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What positions?
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How do they play (i.e. do they shine as individuals or as part of a group)?
Then have in mind the photos that you are after in terms of your position and camera angles. For example are you looking to record a try, someone running with the ball, or the celebrations that occur after a score?
The Pulse by Mike Moran
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Cost: $160 per person. Includes transport, morning tea and lunch, three tastings.
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A great studio lighting workshop! Paul Whitham LPSNZ reports
IT WAS A cold and very wet morning in August when I drove south from Christchurch to Ashburton to assist in running the fifth PSNZ workshop. Run by Scott Fowler FPSNZ EFIAP PPSA SPSA, the day was devoted to studio lighting. Given the constant rain throughout the day, it was very fortunate that the diesel heater in Emmily Harmer’s studio kept everyone warm. Scott is a very enthusiastic and well-known tutor and the workshop filled up quickly with some people travelling from as far afield as Auckland. Scott had a number of his regular models on hand, and set up four different lighting areas, using different approaches. These included natural light, continuous lights and two incorporating studio strobes. After a brief introduction from Scott the group broke into four and for the rest of the day tried out different lighting, different poses and different outfits. It was a very full day and by 3.00pm a number of participants were definitely flagging. I would think that everyone enjoyed the day and hopefully they were able to take something from it. Scott in full oratory by Paul Whitham
Judging by comments, on the next page, from the PSNZ Facebook group, this appears to be the case. For those who couldn’t make the workshop, Scott is one of the presenters at the 2020 National Convention and will also run a portrait workshop at Ferrymead.
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Showing the images. Dennis Chang captured by Dennis Tohovaka
Julie Sheppard
What the participants said Julie Sheppard Thank you PSNZ, Paul and James for organising; Scott and Shelley for knowledge and expertise; and Georgia, Connor, Mahara and Zoe for being exceptional models. I learned that I prefer the standard lighting setup or natural light setups - probably because they are the easiest. I am also gaining confidence in having a vision, asking the models to move into position to tell a story, and seeing where a shot is worth taking. I remembered to check if I was cutting off body parts!
Dennis Tohovaka Well worth the trip down from the North Island to attend the workshop run by the talented Scott Fowler. Thanks very much. I really enjoyed the networking and collaboration.
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Keith Sycamore
Scott Fowler Ana Stevens
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Julie Sheppard
Keith Sycamore
The happy crew: from left Mahara, Zoe, Scott, Georgina and Connor. Photo by Dennis Chang
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PSNZ Workshop No.5 - Fine Art Printing with Shona Jaray APSNZ From Karen Lawton
I ATTENDED THE PSNZ Fine Art Printing workshop held in Orewa in September. This workshop was generously supported by trade partner Epson who supplied a P600 A3 inkjet printer, ink and papers. Epson had also printed a selection of ten of Shona’s images, each on seven different paper types. All are in the Epson Signature Worthy sample pack. These portfolios clearly illustrated the different outcomes paper choice can make to a wide variety of image types. These create a valuable resource for future Fine Art printing workshops. The workshop was well supported with club members travelling from Paeroa, Waihi Beach and north of Kawakawa. A wide range of printing experience was represented and as a print novice I was very unsure what to expect. Shona delivered a polished, carefully thought out and hugely informative presentation. This was ably supported by a clear set of spiral bound notes for each participant to keep. We explored the rationale of printing images (as opposed to only displaying projected images) and Shona demystified with ease the fears of the cost and complexity of printing. A clearly defined workflow was worked through and the ultimate outcome was having each person’s chosen image printed on A3 paper to take home. What a great bonus. For some this reminded them why they had purchased a printer and why they should get back to using that technology. For others this was a first taste of the added control and finesse that printing your own work can engender. PSNZ thanks Shona for the time and professionalism she brought to this workshop and our trade partner Epson for their ongoing and greatly appreciative support.
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Humpback whale mother and calf by Jo McCarthy 4 Nations Honourable Mention and Silver medal
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Audio-visual notes by Trish McAuslan APSNZ AV-LAPS EFIAP AAPS AV Coordinator for PSNZ
Jack Sprosen Memorial Trophy Competition THERE IS A minor change to the organisation of this year’s JSMT Competition. The opening date is now Monday 14 October. Originally it was to open a day earlier but this clashes with the Southern Regional Convention which the webmaster is attending. If you are at all interested in audio-visuals, please make an effort to enter at least one AV and if possible two AVs into this Salon. The main aim of an AV is to tell a story with your images. Because the main focus of PSNZ is about taking still images, the requirement for an audio-visual in this competition is that at least 80% of the images will be still images that you have taken. This does not include taking photos of other people’s photos or of artworks or similar images. It is recognised that sometimes there are images which are important to telling your story but for which you are not able to take an original photo. These include historical images or images of a specific event or person.
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Here are some examples of when I have used third party images. When I told the story of my visit to Mawson’s hut in Antarctica, I was able to show the hut as it is today but I also wanted to show the similarities to the hut when Mawson was there almost a hundred years ago. I was able to find a copy of a photo that was taken inside the hut in 1911 and one of Mawson who was the main character in this story. Both these images came from the internet and that had to be acknowledged. In an AV about Keng Tung, an isolated town in Myanmar near the border with China, Laos and Thailand, I wanted to include a map to show how close these neighbouring countries are and therefore how easily they could influence the history of Keng Tung. To show this I used a map from the internet. If you want to use video clips or time lapse sequences, in general you are expected to have taken them. They are included in the 20% of the total time which you can use for third party images. Note that this is 20% of
the length of your AV, so if your AV is one minute long, third party images can only be about 12 seconds of that AV, but if your AV is four minutes long you could include up to 48 seconds of third party images. It is up to the judges to decide if there is too much emphasis on third party images and video clips.
PSNZ AV Group If you would like to have a go at creating an AV but are not sure if you are on the right track or have questions about audio-visuals, you could join the PSNZ AV Group. This is a closed Facebook Group which is open to PSNZ members. It is also open to members of photographic clubs affiliated to PSNZ. To confirm that you are indeed a financial member of a PSNZ affiliated photographic club, we may contact your club treasurer or president for confirmation.
Currently there are 17 members of the group with myself and Gail Stent FPSNZ as moderators. We have been able to show some of the audio-visuals which were successful in last year’s JSMT competition. Go to the group’s home page and click on ‘join’. You may have to wait a day or two to be approved https://www.facebook.com/ groups/913767702312027/ or email either of Gail or me and ask to join. We will send you an invite to join the group. Note: You do need a Facebook Account to join the group and I know some people are not happy to do this. One thing you can do is to create a Facebook account using a pseudonym maybe just your first name and do not fill out any of the other information. You could use it only to participate in the Group as long as the Group has some way to identify you.You can set personal privacy settings if that is the main concern. Please contact either me or Gail to discuss it if you want to join in this way.
Serenity by Adam Buckle FPSNZ 4 Nations Bronze medal
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4 Nations Inter-Society Digital Image Competition By Ann Bastion FPSNZ EFIAP MFIAP
EVERY YEAR PSNZ, along with Australian Photographic Society (APS), Canadian Association of Photographic Art (CAPA) and Photographic Society of South Africa (PSSA), we hold a photographic competition, taking it in turn to host it. This year it was hosted by Canada. There are four categories with a total of 80 images sent from each country: • Open colour
35 images per country
• Open monochrome
15 images per country
• Nature
15 images per country
• Our country
15 images per country
Each image is judged on its own merit and at the end each country’s image scores are tallied up to find the final ranking. This year the ranking was: 1st
Canada
2nd
South Africa
3rd
Australia
4th
New Zealand
We also had two “Honourable mentions” from the 4 Nations judges, one for Bevan Tulett FPSNZ with his image Australasian harrier confrontation and the other for Jo McCarthy with her Image Humpback whale mother and calf. This earns them both a PSNZ Silver medal. Our highest scoring applicants will receive PSNZ medals and certificates. The medals and certificates, including a video presentation of all the images from the four countries, will be presented at next year’s PSNZ National Convention, in Christchurch over ANZAC weekend. Congratulations to all medal recipients.
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Title
Name
PSNZ
4 Nations
Auckland skyline
Gail Stent FPSNZ
Bronze
Australasian harrier confrontation
Bevan Tulett FPSNZ
Silver
Honourable Mention
Cape gooseberries
Shona Jaray APSNZ
Bronze
Ghosts Of Cape Reinga
Shelly Linehan LPSNZ
Bronze
Humpback whale mother and calf
Jo McCarthy
Silver
Honourable Mention
Juvenile kea
Carolyn Elcock
Bronze
Kaimanawa horses
Janice Chen LPSNZ
Bronze
Sacred kingfisher with crab
Chris Helliwell LPSNZ
Bronze
Serenity
Adam Buckle FPSNZ
Bronze
Tiritiri Matangi lighthouse with Milky Way
Geoff Beals APSNZ
Bronze
Auckland Skyline by Gail Stent
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Tiritiri Matangi lighthouse with Milky Way by Geoff Beals
Cape gooseberries by Shona Jaray
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Juvenile kea by Caroline Elcock
Sacred kingfisher with crab by Chris Helliwell
Kaimanawa horses by Janice Chen
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Hutt Camera Club takes out Wellington interclub By Paul Whitham LPSNZ
FOR THE SECOND year in a row the Hutt Camera club has taken out the Wellington interclub prints battle. This is an annual competition, run between the six camera clubs in the Wellington region, which has been running since 1975. The clubs take turns in organising the event and selecting the ten topics that are then notified to the other clubs at the start of the year. The 2019 event was organised by the Kapiti Coast Photographic Society. Each club then selects a single print to represent that category. On the competition night the six images in each category are assessed by a judge who ranks them from first to sixth. Warren Ixer, who runs a photographic framing business on the Kapiti Coast,was the judge this year. At the end of each round the ranking is translated into points and at the end of the ten rounds the club with the least number of points is declared the winner. As in other years the competition was very close, and over the night the lead changed a number of times. When the final round was scored only one point separated the Hutt Club from the Kapiti Camera Club (second) and a further point back was third placed Kapiti Coast Photographic Society. There was a large attendance from the six clubs and the judging was done in front of a full house. Banter with the judge was encouraged, making for a very entertaining evening. In addition to the overall trophy there is a separate competition for the Stella Daniell award for the best abstract image. In the years where is not a specific abstract category, the judge nominates images from any of the other categories and then selects from them. The 2019 winner of the Stella Daniell award was Chris Crawford who is also from Hutt Camera Club. This is the third year in a row that a member of Hutt Camera Club has won this award.
Greg Whitford (President of the Kapiti Coast Photographic Society) presents David Jensen (President of Hutt Camera Club) with the trophy. Photo by Steve Courtney.
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Monochrome Film Group Exhibition Fred Wotton APSNZ reports
The Monochrome Film Group recently held its fourth biennial black and white print exhibition at the Hutt Art Odlin Gallery in Lower Hutt from 10 to 24 September. The exhibition was opened by Helen Mitchell, Senior Photography lecturer at Massey University, where they still teach film photography. Nearly 400 people visited the exhibition of 52 black and white prints produced in the darkroom. A group of senior students from Massey University visited the exhibition opening and they were impressed with the quality of prints on display. The group meets once a month with the aim of encouraging the art and science of black and white photography. They meet in members’ homes and currently have ten members.
Fred in front of one of his images in the exhibition
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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Northern clubs host Olympus event PSNZ Trade partner Olympus recently joined with the clubs from the Northern Region in Whangarei to host a photographic workshop centering around two themes, light painting and macro. The running of a workship with a trade partner outside of the conventions is a new initiative that PSNZ is working on. Wal Reid from Olympus shared these comments with us. “Fantastic day in Whangarei, and a warm welcome from hosts, Pam & Donna, and members from the Whangarei Camera Club. Weather was perfect (even though we were inside) however, there was a great spirit with everybody and people commented they had “learned” some fantastic new photography techniques, not only on the Olympus cameras, but on all camera systems. We had some great feedback regarding the macro and light painting workshops, and, we had an opportunity to speak to members one on one in regards to our products, and also any questions they had regarding their cameras. It was a real ‘buzz’ interacting and socialising with the members and one, we’d like to repeat in the near future if the occasion arises.”
The gathered photographers - image by Olympus
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Allsorts by Pamela Stephen
Macro pencil by Judy McKenzie Concentating on the setup - image by Olympus
Light stick by Judy McKenzie
Splash of colour by Pamela Stephen
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Nelson National Triptych Salon 2019 By Peter Wise FPSNZ
The 2019 Nelson National Triptych Salon has closed, with some first-class photographic triptychs received. As well as many newcomers submitting to this year’s salon it was good to recognise the names of entrants from past events who were sending in their latest creations. The three judges for this year were Tracey Scott FPSNZ AFIAP FNZIPP, Julie Catchpole, Director of the Suter Art Gallery, Te Aratoi o Whakatu - the Nelson Region’s public art gallery, and Paul Gummer FNZIPP MAIPP. The judges conscientiously considered all 391 entries before selecting the images that would receive awards. Champion Triptych was awarded to Charlotte Johnson APSNZ of the Auckland Photographic Society for her superb entry titled North Head tunnels. The judges said, “The use of tonality, restricted and subdued colour palette enhances mood and creates a sense of mystery; light is skilfully exploited to lead the eye into and around the images with the bright light vanishing point at the centre demonstrating thoughtful image placement in the triptych format.” Best abstract went to William Wright FPSNZ for his triptych titled Below average. The judges thought that “Far from Below Average as an image, this triptych breaks the mould for pictorial representation and is effective in its graphic simplicity.” Markham Mail APSNZ gained Best Humour for his entry titled Dancing with the stars in stripe. “Zany eye-catching pairs of images, simple bold use of colour and well controlled technically” was the comment received from the judges. Best Monochrome award was achieved by Jo Curtis LPSNZ for Clear cut concentration. The judges commented, “The use of silhouetted figures conveys a universal narrative, one very much about contemporary society; the strong contrasts reinforce the paradox of individuals ‘connecting’ but not with anyone in shot.” A Presentation Evening will be held on 14 October in the Johnny Cash room of the Nelson Marlborough Institute of Technology where there will be a print display of all the top images and the showing of an audiovisual of all accepted images. This will be followed by the presentation of awards. The event is open to everyone.
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Honours
Honours - Raining in the street by Noline Skeet
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Champion
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North Head tunnels by Charlotte Johnson APSNZ
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Best humour
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Dancing with the stars in stripes by Markham Mail APSNZ
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Best abstract
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Below average by William Wright FPSNZ
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Best Monochrome
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Clear cut concentration by Jo Curtis LPSNZ
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Honours
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Outback Australia by Pauline Smith LPSNZ
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Honours
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The flower shop by Graeme Skinner LPSNZ
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Creative Focus 2019 by Noline Skeet
ONCE AGAIN THE Creative Focus competition has proved a popular success. This year we received the most entrants over the seven years we have been running the competition. 637 awards were given to the 782 images that were submitted. It is interesting to see the familiar names coming through each year; it is obvious they love to do something different and creative. We often have members telling us that this is their favourite competition. Having said that, there were lots of new names this year. It is very good to see new people trying their hand at producing creative images. Many of them were successful as well. A special thank you to the talented judges - Brian Eastwood, Jean Moulin APSNZ and Kim Falconer APSNZ. We thank them for their time and commitment to creative photography. The winner of this year’s competition was Jill Jackson LPSNZ with Clematis flower show. You have to agree; it is a well-orchestrated creative image. Congratulations Jill. Other section winners were: Going Green - Helen McLeod FPSNZ Passion - Robin Short Human Impression - Lynne Fothergill LPSNZ
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Thank you everyone who supported our competition. We look forward to seeing your creative photography lift to another level when you’re further inspired from the winning images on http:// www.creative-focus.co.nz/cf/
Hot house effect by Helen McLeod FPSNZ
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A passion for cleanliness by Robin Short APSNZ
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A girl in blue by Lynne Fothergill LPSNZ
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Key dates for the diary October 7 October 11-12 October 14 October 25 November 1 November 16 November 23-24 December 1 December 25
Entries for NZ International Salon close Southern Regional Convention Entries for Jack Sprosen Memorial Trophy open Canon Online Round 5 closes Registrations for National Convention open Entries for Jack Sprosen Memorial Trophy close PSNZ Workshop 6 Deadline for next CameraTalk edition Canon Online Round 6 closes
The last image
Ghosts Of Cape Reinga by Shelley Lineham LPSNZ 4 Nations Bronze medal
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