Cameratalk October - November 2017 by Photographic Society of New Zealand

NZ CameraTalk To p r o m o t e t h e w i d e r e n j o y m e n t o f p h o t o g r a p h y

T H E O F F I C I A L M A G A Z I N E O F T H E P H OT O G R A P H I C S O C I E T Y O F N E W Z E A L A N D I N C October / November 2017

Editor’s corner PRESIDENT Peter Robertson LPSNZ PO Box 2, Westport 7866 t. 03 789 8745 e: president@photography.org.nz

and successful regional convention at Westport. Again there was a team of dedicated workers from a small club with only a few active members.

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

TREASURER David Knightley PO Box 99470, Newmarket, Auckland 1149 e. treasurer@photography.org.nz

SECRETARY Patrice Nilsen 8 Raroa Terrace, Tawa, Wellington 5028 t. 04 232 1565 e. secretary@photography.org.nz

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

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

CAMERATALK DEADLINE The next CameraTalk deadline is 1 December 2017. Email your contributions to the Editor at his email address. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned. The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ.

Regionals – are they at risk? AS I WRITE, I’m full of enthusiasm and fond memories for the wonderful Central Regional Convention attended by 90 or so PSNZers at Stratford in Taranaki. The weekend was thoroughly well organised by Sue Morton and a small team of hardworking Stratford Camera Club members. Like many others, I admired the way a small club was able to accept the challenge of running a weekend convention and carrying it through to a successful conclusion. I’m reminded that this time last year the Buller Camera Club took its turn and ran a very enjoyable

Elsewhere in these pages, Councillor Toya Heatley LPSNZ voices her concern that it is becoming increasingly difficult to find clubs willing to run a regional convention. At the moment, nobody has put up a hand and said, “We’ll do it!” That means no regionals next year, unless a club is prepared to take up the challenge and give it a go – with lots of help and support from Toya, PSNZ Councillor with responsibility for conventions. Buller and Stratford have shown that a small club can organise a great regional convention. Who else is prepared to take a turn? Lindsay Stockbridge LPSNZ Editor

On the cover

Shadow by Toya Heatley LPSNZ. Read about Toya and see more of her work on page 46.

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

Helping photographers grow COUNCIL IS NEARING the end of a lengthy strategic planning process in which we examined our heritage, analysed our current practices and tried to predict future trends. We have affirmed the mandate of the Society’s founders that the mission of the Society should be to help photographers grow in confidence, enthusiasm, relationships and technical skills. Moreover, we should go about doing this in a conscious framework of core values centred on education, growth, enjoyment and friendship. With this in mind, Council has adopted a Strategic Plan with five strategic goals: 1. To create and maintain effective governance 2. To strengthen membership and club support

From the President's desk

In this issue Canon Online Results

The elusive A

A storyteller’s imagination

5. To develop revenue growth.

Model release forms

These goals, and what we need to do to achieve them, will be laid out in the next issue of CameraTalk and will continue to be refined by members’ comments and suggestions.

Audio-Visual Notes

Club celebrations

5th Fiap Meeting

Member profile: Brian Cudby

The soapbox

Judge training

Convention news

Councillor profile: Toya Heatley

Dunedin convention

Competition results

Membership matters

Obitiary Graham Richards

3. To develop and deliver a value proposition to members and clubs 4. To build trusted relationships (with both members and our trade partners)

I thank Councillors on behalf of the Society for the many, many hours of research and analysis that they gave to this long overdue project, and I look forward to proceeding with a more cohesive sense of purpose in helping photographers grow.

Kind regards Peter Robertson LPSNZ President

PSNZ Canon Online Results from Round 4, 2017 THANK YOU TO all who entered Round 4. With spring here the weather will improve, encouraging people to go and take more photos. Our judge this round was IIan Wittenberg FPSNZ MNZIPP from Auckland who kindly gave his time and expertise. Thank you so much IIan. Round 5 closes on 25 October and all financial PSNZ members are welcome to enter. One image only please, sized 1620 x 1080 and uploaded on the PSNZ website. Sally Phillips APSNZ PSNZ Canon Online Coordinator

Comments from the judge: Ilan Wittenberg FPSNZ MNZIPP I’m honoured and privileged to judge this round of the PSNZ Canon Online competition. It’s been said that photography is the easiest medium of art to be competent in but it’s the hardest medium to have a truly personal vision. It’s very much like talking: everyone can talk but very few have something to say. When judging these photographs, I first look for basic technical competency: focus, exposure, composition. I then look beyond these and search for the creative element, the X factor. I ask myself if I would hang that in my living room. I then look for photographs which contain unique ideas and enduring qualities, photos that evoke emotions.

When presented with the 57 images I was faced with the challenge of comparing photos from different genres. While these images are not comparable, I could still implement the criteria above to assess their individual merits. While some images require a lot of in-camera technical skills to capture a beautiful nature image, others require high competency in post-processing. After all that is taken into account, my personal preference has some weight in selecting the top images.

Ilan has only provided comments on the top three images in this round.

Erratum The image Reflections by Paul Whitham LPSNZ on page 20 of New Zealand Camera was accidentally flipped horizontally. This was not intended and was only picked up recently. We apologise to Paul for this error. Paul Willyams LPSNZ Editorial Team NZ Camera

1st Afterglow by Jo Curtis LPSNZ I enjoy the simplicity and the flow, the aesthetics and the colour pallet. Our eyes are drawn to the subtle difference between the three images, the harmony and the tension. This looks to me like panning of the camera during sunrise. Regardless, the use of thin white border with a soft shadow around square images is successful. The triptych is interesting and will beautifully decorate any living room.

2nd Kingfisher eating fish on lotus bud by Mikko Xiang Wang Beautifully captured using a telephoto lens, very high shutter speed and shallow depth of field! I acknowledge how difficult it must be to wait for the right moment and capture a sharp image which is perfectly cropped. I imagine that the bird had just scooped the fish out from the water and was getting ready to swallow it in a gulp. The highlight in the eye of the bird is key as well as the tiny drops of water which are frozen in mid-air. The dark background is beautifully out of focus which helps in defining the bird, the fish and the lotus bud.

continued from page 5

PSNZ Canon Online: 3rd London Spy â&#x20AC;&#x201C; 1942 by Bill Hodges EFIAP APSNZ This is a very creative composite which includes a portrait holding the prop. The alley is successfully leading our eyes up to Big Ben and to the fighter jets hovering above; definitely telling a story.

4th Tui by Lisa Blomquist LPSNZ

5th A brighter shade of pale by Annette Johnston LPSNZ

6th Smoking tree by Karen Thorne APSNZ

continued from page 6

PSNZ Canon Online: 7th Baboon by Lindsay Murray

8th Seated in fog by Derek Teague

9th Sacred kingfisher by Chris Helliwell LPSNZ

10th The Ibis by James Gibson APSNZ AFIAP

That elusive “A” By John Boyd Hon FPSNZ Hon PSNZ APSNZ WHY DOES IT SEEM so hard to attain the APSNZ distinction? Well, to be valued, it should certainly not be easy. However, as an observer of many Honours Boards since 1988, I would like to offer a few thoughts. From the introduction of PSNZ Honours in 1972 it was expected that an Associateship should show mastery of camera and picture production in a variety of situations through a balanced, artistic and cohesive portfolio of 12 images. The Licentiateship was introduced in 1996 as a less demanding challenge of 10 images for members of affiliated clubs as well as PSNZ members. The Associate guidelines were amended to reinforce the “mastery” expectation by requiring “proficiency of a higher order” than that required for “L”. The expectation was that, for success, applicants would continue to display broad evidence of their artistry and ability. Subsequently, two things have conspired to confuse matters. Firstly, the superb quality of some Licentiate portfolios which far exceeded the required threshold for “L” has resulted in Associate applicants thinking they need to produce mini Fellowship sets. That has never been the intention. Secondly, the success of

“themed” sets - originally nature ones dealing with a single subject type in which the quality of images was such that the mastery of the camera in other situations was taken as a “given” - may have created a perception that a thematic approach is required. It is possible that “themes” have become popular because closely related subjects are more easily combined as a portfolio. The skill of putting together a balanced group of prints, or a projected images sequence which flows, is an integral component of any successful portfolio, and essential to achieving PSNZ Honours. Because more and more Associate applicants have been submitting themed sets, it is these that are being perceived to be successful. The situation has evolved to the point where, in 2017, 21 of 24 Associate print submissions and 15 of 17 projected image submissions were based on themes. As a consequence, the only successful sets seen this year at Convention used themes. That likely further developed the perception that a thematic approach is required. However, the move towards themed submissions may in fact be pulling down the “A” success rate. It is quite possible that some unsuccessful applicants have been top photographers who could have achieved better results had they chosen to prove their mastery in a portfolio of diverse subjects, situations, focal lengths, genres or techniques. Instead they fell short, perhaps because inconsistencies in closely related set-ups are more obvious than in a diverse portfolio, or perhaps because lack of variety failed to maintain viewers’

Daniel Wong APSNZ

Mark Brimblecombe APSNZ

interest. A themed submission still needs to convince the Board that broader mastery of the medium is undoubted. With the intention of clarifying the respective requirements, the guidelines are being reviewed. In the meantime, it is important to understand what sort of portfolio is required to succeed. A Licentiate is expected to show a high level of competence in the craft of photography. An Associate must go further in displaying not only craftsmanship, but also artistry. In Nature also, diversity is recommended to show broad technical competence, plus an appreciation of what is necessary in each single photograph to convey information about the subject, its environment and/or behaviour. At Fellowship level, with broad proficiency of craft proven through achievement of the Associateship, applicants are free to more narrowly explore a subject, technique or genre, and in doing so display their unique style. Honours Board member Bruce Girdwood FPSNZ has expressed it thus: “The role of the Honours Board is to give effect to the PSNZ objective through the distinctions it awards.We are often asked to provide prescriptive guidelines to clarify the requirements of each distinction. Because the PSNZ objective is clear that we are to “promote … art” and because art is born out of self-expression, rather than

prescription by a governing body, it is counterproductive to prescribe requirements in any other form than broad guidelines within which each individual can express their unique creativity.To do otherwise would be to stifle creativity. “The Honours Board promotes a framework within which to demonstrate photographic development through •

A portfolio which demonstrates your ability to present a coherent body of photographic work

•

Craftmanship that demonstrates your ability to use your equipment and photographic techniques, demonstrating your competency in photography

•

Artistry that demonstrates your ability to express yourself through your photography.

“One way to think about this framework is as follows: Craft is the ability to use your tools. Art is the ability to use your tools to uniquely express yourself. I believe the honours system is well designed to achieve the PSNZ objectives: •

Licentiateship is all about basic craft (I can use a range of equipment in a range of situations and conditions to make photographs that are competent but don’t necessarily say a lot about me).

continued from page 11 •

Associateship is all about advanced craft (I can use my camera to apply advanced techniques to show more than craft - I am starting to be an artisan with general skills; I am still exploring who I am through my photography).

•

Fellowship (I have mastered my craft and can use it to express myself uniquely; I am an artisan, an artist, I have my own style).

“Whether you use a theme or a diverse set of images to achieve these outcomes is entirely up to you, as long as you demonstrate the key requirements of the distinction you are seeking.The more imaginative and creative you are in doing this the more exciting it is for the development of your own skills and for photography in general.We are not in the business of cloning a particular brand of photography.”

New Zealand Camera 2017 has just been printed and is now available on the PSNZ website https://photography.org.nz/shop/. Limited numbers of our 2016 and 2015 editions are still available. If you don’t have all of these, get in quick. This would make a great Christmas gift – 150 full page images in a hardback with high quality paper and printing.

Scott Fowler was one of three members who earmed their Fellowships this year. His set was certainly unique so CameraTalk asked him to provide an explaination.

A storyteller’s imagination by Scott Fowler EFIAP FPSNZ BPSA PPSA “The fact that I myself, at the moment of painting, do not understand my own pictures does not mean that these pictures have no meaning; on the contrary, their meaning is so profound, complex, coherent, and involuntary that it escapes the simplest analysis of logical intuition.” Salvador Dali These words resonate with my Fellowship set. As I created each and every image, I went through the same thoughts as Salvador Dali; not that I am comparing myself to the great artist, but his words made sense to me. As you look through the set you will see the great man’s influence. “The Persistence of Memory” had a huge influence, especially the distortion of the clocks. All my clocks are set at 3 o’clock, a time for the imagination to take over and create whatever. I do not know why this time; one day it might become clear... Below is the artist’s statement that accompanied my fellowship set. “A storyteller’s imagination. This collection of images depicts ideas/stories that reach out to me from the visual circus called my subconscious; often exploding into my conscious mind as a black and white image, demanding to be assembled in my digital darkroom. The clocks are always set at 3 o’clock; a time to let my imagination run rampant and play in a surreal world. This is the world of an adult-child’s mind, where time and imagination are my consistent companions in the development and construction of these images that could only exist in my storytelling imagination.”

images, and what were the influences that helped create these ideas?” I will try and explain as simply as possible the questions asked. Influences? That is simple - Salvador Dali, Jerry Uelsmann and Dominic Rouse, with a sprinkling of Brooke Shaden. Each image was created with a background as a starting point, usually an image rather than a blank canvas. Then it would just grow, as my imagination directed me. I have tens of thousands of raw images that I can call on. All the images or part-images used were 16-bit Tiff format. The creations in this collection took different amounts of construction time from start to finish, often depending on my available time and state of mind. I would often construct an image in six hours; others I would live with for many days, weeks or months until they were finally constructed. As for layers; well, that depended on the story. They ranged from ten layers to seventy-five, sometime a few more, and all layers were named for ease of finding. I kept my workflow very simple and clinical, as I had and still have a target figure of fifty images/chapters in this collection. When I have achieved this number I will create a book of the images. When you look through the images you will see common threads that connect them.You have to spend time with each image to see all that is in there. Each time I study my work I find new underlying stories, new paragraphs, in what appears to me to be a visual novel with fifty chapters, titled “A Storyteller’s Imagination”. To learn more about my thought processes and creativity, join me on one of my many workshops.Visit www.scottfowlerworkshops.com for more details.

“How did you create each image, and how long did it take you to produce each image?” I’m often asked this question, as well as, “How many layers are in the

Scott Fowler FPSNZ - Successful Fellowship Set

Paul Whitham LPSNZ discusses

Model release forms IF YOU HAVE ever wondered about the arguments for having a model release form signed, imagine the following situations. A) You have managed to create a champion portrait. It does well in the National Exhibition and your local paper decides to profile it, and you. But once the image appears the subject in the photo becomes very upset and makes accusations that they never agreed to you showing it; they demand that the photo be taken down. B) You are shooting a downhill cycle event in a public park.You nail the perfectly timed image and after you post it online you are contacted by a major company wanting to use it on the side of their building.You agree on a price and you are proud when the image goes larger than life. But then it turns out that the cyclist is a vegan and does not appreciate his face appearing on the side of a fast food restaurant. If you think that these are unlikely situations then you would be wrong. In fact, serious model release allegations about a PSNZ member were made earlier this year in the lead-up to Honours judging, and the second incident happened at McDonalds in Wainuiomata. Photographers are probably aware that the issue of who owns the rights to images can be a thorny one. There is a difference in the default position between you taking an image and being asked to take an image. These are covered under copyright and commissioning rules. But when you take photos of people you could run into further complications and the possibility of running foul of both legal and moral complications. These can include issues such as whether the person gave you permission to take their image and/or placed any restrictions on its use. Today images can be seen by literally millions of people in a very short span of time; therefore it is important to understand how to avoid possible issues. This article addresses the use of model releases which are the primary means of protection and defining rights. A well structured model release works to protect the interests of all parties. What is a model release? Photographers outside the wedding/fashion arena have often never heard of a model release. At its simplest, a model release is a document signed by the subject being photographed (the model) that confirms that they allowed the photographer to take their picture and more importantly that they have given their permission for the photographer to use that image (in all situations â&#x20AC;&#x201C; competitive, commercial et al). It is a contract and as such all parties need to be over 18 to sign it, or a legal guardian must sign on the behalf of a person under 18 years. All images in this article taken by the author

continued from page 23 Why is it needed? In the commercial world model releases are just about always insisted upon because the publication/campaign can not afford the negative publicitiy associated with any form of action against them. This used to be litigation but now loss of reputation through social media can be worse. They therefore want to ensure that they can prove that the recognisable people used in their material have given the photographer permission and that he or she has not simply taken photos under false pretences or by ‘chance’. As such - if you dream that one day your images will appear in publications - then your default position should be to obtain a model release whenever appropriate. I am not a commercial photographer – does it apply to me? This is where the black and white becomes shades of grey. An image deemed to be displayed for commercial gain does not need to be taken specifically for that purpose. For example, on my website I have the images taken of models and I have photos taken at weddings. The latter include ones I have been paid for, and on the site I do advertise that I will shoot weddings for a fee. It can be argued that all images on my site are therefore potentially commercial as a prospective bride and groom may look further than the wedding section. Do I need a signed model release form for all circumstances? The simple answer to this is no, however in law nothing is ever really simple. Assuming that you are not shooting commercially, then you do not need a model release for any images that are shot in a public place, or where the person is not easily recognisable. Releases are also not required if the images are intended for editorial use such as photos in newspapers, as this is covered by what is known as a “fair use” provision. This is where the situation with the Wainuiomata McDonalds came in. There were no privacy issues with taking the photo, however the subject was clearly recognisable. If you are shooting in a private place, with a clearly identifiable person, and you have a specific purpose for the images, then I would recommend getting a model release form signed. This is particularly true if you do not know the person particularly well, and definitely in the case where you are shooting either children or nudes. At present PSNZ does not have a requirement to sight model release forms associated with images entered into competitions, however around the world some organisations do require you to produce one on request (for example the NZIPP Iris Awards). Where can I get a model release form from? Model release forms can be downloaded from either the NZIPP or AIPA websites; these forms have been checked and approved by their lawyers. The only caveat that I would say when using these is that the NZIPP form is very focused on a commercial modelling arrangement and probably goes far beyond that which most PSNZ photographers would need. The AIPA form is at the other end of the spectrum and in my opinion contributes the rights to images inequitably, passing too

much to the photographer while providing very little insurance for the model. This is understandable as again it is based more around an arrangement where the subject is a professional being paid for their services. We live in an electronic age. There are numerous apps availabe for both IOS and android that make it very simple to get a release filled out. While this can be extremely useful if you are on the go, there can be an issue with these types of apps as to whether you can modify the wording in the release itself. What should it contain? When I started shooting portraits, and particularly nudes, I discovered that the forms I could download didn’t actually meet the requirements of either me or my model. In the case of the latter, models were concerned as to how the image could be used. I therefore looked online and brought together a contract that contained the following areas which I believe is sufficient for all needs. So, assuming that you are wanting to use a model release form and the ones that you can download don’t look sufficient, what should it contain? Essential 1. The names of the parties to the agreement, remembering that they all have to be aged over 18 to sign it. 2. A clear statement in which the model agrees to the use of their image in the final photos. 3. The basis of the contract (ie whether payment was involved or was it a trade where the model received images in exchange). Optional 1. A clear statement on who owns copyright in the final images, and the nature of any rights being transferred between the parties. 2. A clear statement as to where the images are intended to be used and/or where they cannot be used. For your extra protection 1. A declaration that the model entered into all poses and situations of their own free will. 2. For any shoot exposing skin, that they entered into the shoot knowing that the shoot would involve such shots. I generally talk to the models about my form before we start the shoot and then I get them to sign them after the shoot has been completed. My form has a section where the model affirms that they had agreed to the poses that were undertaken as part of the shoot. Signing the form at the end avoids the situation where a model can claim that they did not agree to what happened at the shoot. If anyone would like a copy of the release I have created, then send me an email to paul@pwfotos. com with the subject line of “Model release form”.

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

Jack Sprosen Memorial Trophy competition Entries are now open for this year’s competition. Please make every possible effort to enter at least one audiovisual and if you can, two AVs into this year’s competition. The rules, information and entry form are all on the PSNZ website: https://photography.org.nz/salons/jack-sprosen/. Entries close on 20 November, so you have plenty of time to create a new AV; or you can enter an AV that has been in your club competition or the Tauranga AV Salon. Note that you cannot enter an AV that has already gained a commended or award in an earlier JSMT competition. Congratulations to the following PSNZ members who were successful in the APS Audiovisual Spring National Exhibition: Judith Hodgson with two acceptances; Trish McAuslan APSNZ EFIAP AAPS with two acceptances and a merit; and John Hodgson with two first placings and two second placings.

A Club AV competition? Does your club have one, or did it go in the ‘too hard’ basket a few years ago? Is it time to try again? Until recently, it was difficult to run a club AV competition because the best quality AV programmes created in Windows needed a Windows computer to play them and likewise programmes created on an Apple computer needed an Apple computer to play them. This made it difficult to find a judge who had access to both a Windows computer and an Apple computer. Some clubs solved the problem by ruling that members could only enter AVs that would play on a Windows computer. Understandably this upset members who had Apple computers. Other clubs solved the issue by not having a competition at all because it was too difficult to find a judge. But technology has changed! It is now possible for all AV workers to save their programmes in a format that can be played on both Windows computers and Apple computers. NB: They may have to update their older applications. The files that work for this are mp4 (preferred), .avi and .mov. It may require the judge or your club to download the VLC Media Player to play some of these formats. This is a free download and it is a useful little app because it often allows you to play audio and video files that you can’t open otherwise. Recently we received some mp4 files that wouldn’t play properly on a laptop but they worked just fine when we opened them in the VLC player. Another issue for some clubs was who to ask to judge, but that has been solved now that we have twelve PSNZ accredited AV judges. They are listed in the directory and on the PSNZ website, so whoever is running your club competitions can find out who they are and contact them in the same way as they contact judges of still images.

An issue for some clubs is how to organise a competition when they have experienced AV workers and people who want to try for the first time. One suggestion is to have different categories: 1. Experienced 2. Novice for new members who haven’t had an acceptance before 3. Collaboration; this category allows two people to work together on an AV. It could be a more experienced member working with someone who hasn’t created an AV before. If learning how to create an AV is a problem in your club, it is possible to arrange an AV workshop - either a full day or a weekend. Talk to me about that option if you are interested. Next year we will be starting an AV Circle which is another way to obtain information and help. There will be more about that at the start of next year. If you would like your club to consider having an AV competition or maybe just one club night when club members can show their audio-visuals, it is time to talk to the people in your club who are responsible for organising your club competitions and programmes. They will be thinking about and starting to plan the programme for next year now. Trish McAuslan APSNZ EFIAP AAPS mcauslanav@gmail.com JSMT Coordinator for PSNZ

Judge accreditation The following members have been approved as PSNZ Accredited Judges – category Open. •

Ann Bastion FPSNZ EFIAP

•

Annette Johnston LPSNZ

•

Craig Phillips LPSNZ

The following PSNZ Accredited Judges have additional accreditation in Audio-visual. •

Karen Lawton

•

Bob McCree FPSNZ

Congratulations to you all. Shona Jaray APSNZ

Events & services Services

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

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

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

Celebrating photographic pioneers – 60 years on! THE CAMBRIDGE CAMERA CLUB celebrated its 60th anniversary by paying tribute to its early members with an exhibition of historical Cambridge photographs and camera memorabilia. With help from the community and the Cambridge Museum, the Club unearthed photographs and archival material not previously seen by the public. This included the Club’s inaugural minute book and scrapbooks filled with news clippings of early competition results. The week long exhibition was the prelude to a full day of celebrations for invited guests. It was an opportunity to honour the photographic pioneers who started the Cambridge Camera Club, with four of the original and early members able to attend. A ‘before and after’ slide show had locals mesmerised as they remembered their ‘old Cambridge’. Jennie Gainsford, from the Cambridge Historical Society, expanded on the slide show with a brief history of the town’s prominent buildings, dating the images using her historical knowledge and the visual clues within each photograph.

mountain backdrops, made the audience audibly gasp. Many of the spectacular images were taken hand-held, without the option of using a tripod. Lynn was able to record images that really were moments in time - for example a sculptured, blue, rainwater iceberg moving, melting and ever changing. By the time Lynn had finished we had mentally packed our cameras and were ready for our arctic adventure. The success of the celebrations was down to one man, Club President Eric Hill. He worked hard to create a memorable event and also to ensure that all the material gathered is preserved for the future. All the cameras, photographs and memorabilia collected for the club’s exhibition, along with a named photograph of current Club members at the 60th AGM, will now be passed on to the Cambridge Museum - to be preserved and ready to be rolled out for the 100th anniversary. We will see you there!

If the exhibition and Jennie’s talk took the audience back in time, the other speakers brought a sense of adventure, with Matthew Gainsford talking about the difficulties and rewards of undersea shipwreck photography. After dinner speakers Tracey Robinson Scott FPSNZ and Lynn Clayton Hon PSNZ EDIAP ESFIAP APSNZ extended our horizons with Tracey’s enlightening, and often confronting, talk about her time in Ethiopia. The documentary images were as dramatic as the stories that went with them. Not for the fainthearted, hers was a journey many of us were happy simply to listen to. Lynn Clayton’s up-close shots of grizzly bears in Alaska, followed by her stunning images taken in Greenland and Iceland of the autumn colours set against dramatic

Cambridge Club President Eric Hill thanks Tracey Robinson Scott FPSNZ for her talk on Ethiopia.

Original club members help cut the anniversary cake. From left, Cambridge Club president Eric Hill, Colin Monks, Waipa Mayor Jim Mylchreest, Davina McDonald, Joan McCathie and Ron Chamberlain. Photo courtesy Kerry Blakeney-Williams

Guest speaker Lynn Clayton Hon PSNZ EFIAP ESFIAP APSNZ and the attractive display Photo courtesy Kerry Blakeney-Williams

New Brighton Photographic Club turns 60 ON 16 SEPTEMBER 2017 a number of past and present NBPC members gathered at the New Brighton Club for a meal, celebration, debate and much reminiscing. PSNZ President Peter Robertson LPSNZ opened the celebration evening, followed by Club Patron Ron Willems Hon FPSNZ FPSNZ FAPS AFIAP ARPS with recollections of his early days at NBPC where he began his love of photography. NBPC has such a lot to celebrate and so much to remember. We started out as a few enthusiasts, encouraged by Reynolds Chemist who provided the chemicals for keen young photographers in the New Brighton area. Sadly Elva Nolan the last of the original members passed away just before the Canterbury earthquakes. Membership numbers have fluctuated up and down but with the earthquakes we became homeless and for a time met in coffee bars and private homes. Our membership dropped to less than 20 as people moved away.

Now we have a nice new home and about 40 members. It is awesome to see many young new members with great ideas and so much to share. Older members are watching the numbers and enthusiasm grow, returning to what we remember from years ago. NBPC started out with film developed in the darkroom. Following the years of black and white prints we moved on to colour and now the digital age. This was a fun evening. We enjoyed two rolling slide shows, one showing club members at events and outings (mainly over the last ten years) and the other showing a selection of members’ work since the introduction of the digital media category in 2008. We enjoyed a fun ‘great’ debate; the subject was JPEG vs RAW with audience support in favour of JPEG. The New Brighton Photographic Club meets three Tuesdays each month at the Ascot Community Centre, Ascot Avenue, North New Brighton. New members are always welcome!

Newell Grenfell Hon PSNZ FPSNZ FNPSNS , Scott Fowler FPSNZ, Peter Robertson LPSNZ, Ron Willems Hon FPSNZ FPSNZ FAPS AFIAP ARPS and Joy Willems Photo taken by John Stewart

Club Patron Ron Willems Hon FPSNZ FPSNZ FAPS AFIAP ARPS, Bryan George (Club President for part of the 1980s) and Hugh Perry, Patron from 1984 to 1998, are seen cutting the cake.

The debating table (Left to right) Guy Wright (speaking) President NBPC, Ron Willems Hon FPSNZ FPSNZ FAPS AFIAP ARPS Leader of the JPEG team, Gilbert Wealleans Social Editor of the Star newspaper, Rondi Teisen, Scott Fowler FPSNZ Leader of the RAW team, John Stewart LPSNZ Photos taken by Nadine Campbell

Memories of the 5th FIAP photo meeting in Shandong, China by Ann Bastion FPSNZ EFIAP THIS WAS A very big occasion for me. Firstly, I had not travelled overseas (other than to Sydney) for nearly 30 years and secondly, it was the very first time I would be meeting the FIAP Directory Board members in my new role as PSNZ FIAP Liaison Officer for New Zealand. But before I continue, I would like to acknowledge the work and support that Brian Cudby EFIAP Hon FPSNZ FPSNZ ESFIAP Hon FIAP has put in over the 16 years he has been FIAP Liaison Officer for New Zealand. The first time I met Brian was when I was applying for my AFIAP. Brian was so helpful and supportive of me and others, advising and guiding us through our distinctions over the last 16 years. Brian has served both the Photographic Society of New Zealand and FIAP with dedication and distinction, acknowledged at the last PSNZ convention when he was awarded Hon FPSNZ. FIAP have also acknowledged Brian’s service by awarding him the Hon FIAP at the meeting in China. This is the highest award FIAP can bestow on any member with an ESFIAP and it was an honour to be there to see it awarded to him. I wish you well in your retirement Brian. I have big shoes to fill! After a short flight up to Auckland, four of us started our 12-hour flight to Shanghai. We waited for six hours to take the next flight to Beijing and I appreciated that time as we needed all of it to get through queues of people and multiple check stations. I’ve never seen so many people in one spot. ‘Patience is a virtue.’ The planning and organization of this whole event was exceptional, right from the first day when we were given a bus number and a room key followed by a printed booklet containing everybody’s name and room number for every hotel for the entire trip. We were welcomed at every stop with rows of beautifully presented staff and hordes of photographers photographing us, just as we photographed them.

Ann Bastion & Brian Cudby

There were 12 buses travelling in convoy everywhere, with police escort and government officers leading the way. It was amazing to be in a bus travelling along with traffic officials stopping all traffic for us at major intersections. Our bus driver knew how to honk his horn to let it be known this was a convoy and to get out of our way. I felt like royalty sitting there in the front seat. It was often through the bus window that I would catch a glimpse of everyday people going about their lives. One of these was the man on his little bike/trailer who had a young child on the front seat with him and ‘mum and the groceries’ in the back tray which was not much bigger than a wheelbarrow in size! Or the man with the bike loaded so high with hay you couldn’t see him, all just “tootling” down the three-lane motorway along with the cars and buses. There was many a time that I shut my eyes as our bus got so close to these bikes. Our schedule was packed full every day. Wake-up call was at 6 o’clock, 6.30 bags down to the lobby, 7.00 breakfast, 8.00 on the road again to the next place. We would arrive at the new hotel having already been given our meal vouchers and room keys, with a multitude of staff lining either side of the buffet room welcoming us. We would eat our meal and go to our room which miraculously had our luggage already there. The quality of the hotels was five-star and it was an experience in itself just being in the hotels and partaking of the extensive buffets. I have eaten food

that was delicious and seen food that I wish I hadn’t seen, such as the whole chicken, (including head and eyes) sitting in the middle of the bowl of soup! But oh, it gets better… they proceeded to chop it up bones and all. During this tour, I saw many ancient sites of China and took many photos, as one does. It makes me realize just how old the civilization is and how young our country is. One of our visits was to Mount Tai to hold a special ceremony designating the area as a FIAP sanctioned area. This means FIAP members can visit the spot for free now. On another occasion, we went to the Great Wall. I am so glad I went there to experience that and get a feel for the sheer scale of the whole thing. It was worth queuing in the heat with the masses who are always present at these places. I think somehow they had some inside information, as they all had umbrellas to shield the sun. We were privileged to witness several cultural events and to visit an old village which was set up with little displays of their craft heritage, and it was there that I was able to see what I had been looking forward to seeing - silk spinning, weaving and dyeing. I have a floor loom at home and one of my other hobbies is weaving. I would have to say we saw a rounded view of all that was cultural and tourist orientated. The only thing they couldn’t arrange was the weather and the one time it bucketed down was when we were due to watch an outdoor evening operatic performance. Being very organized, we were issued with plastic raincoats but unfortunately the wind accompanying the rain made it difficult to actually get them on and keep our cameras under

cover. Eventually the rain did stop and we watched an amazing performance. Holograms of various scenes were projected onto a large series of steps with dancers running up and down, being part of the story the hologram was portraying. It was accompanied by an explanation in English of the history of China - very memorable. With this being a photographic tour I thought, wrongly, that we as the photographers were the ones taking the photos! Not so. I’ve never been photographed so many times, by locals and journalists constantly putting their cameras in front of us. The journalists were rather pushy and would often nudge their way in front of us to get the shot. I even had a big camera lens thrust into my face. I mean, who needs a closeup of my wrinkles! Whenever you stopped walking or sat down they would suddenly appear beside you and, boom, they wanted another selfie with you! It occurred to me that we were photographing old people and young children and that they were doing the same. I can only guess that their next club meeting would be full of selfies of the traditional ‘old European lady’ photos. Rodney was a hit with his long whisker mustache so he was often targeted. All images on this page taken by Ann Bastion FSPNZ EFIAP

The temperature was often 38Â° with extremely high humidity which was not a good look for us. Our clothes always seemed to be wet and looked as if you had just taken a shower in them. I had to drink lots of water which I do not usually do because I donâ&#x20AC;&#x2122;t actually like the taste of it! Fortunately, the water was constantly supplied to us on the bus, in the hotel and at all the events we attended. At times, I felt like a water bottle as I felt it sloshing around inside me. I attended the FIAP Council meeting with Brian and he introduced me to all of the directory board who seemed very welcoming and keen to help in any way they could. Up to this point they had only been names and email addresses to me. I am now ready for the next FIAP Congress meeting in Durban next year.

Lyn Clayton Hon PSNZ APSNZ EFIAP ESFIAP & Pat Cockfield APSNZ

All images on this page taken by Ann Bastion

Three elegant ladies by Moira Blincoe LPSNZ

At the gallery by Moira Blincoe LPSNZ

A lifelong obsession? Brian Cudby FPSNZ Hon PSNZ EFIAP Hon EFIAP tells his photographic story IT ALL STARTED in Hawera, South Taranaki, in 1951. At the age of 14 I was introduced to the magic of photography. Back then I had an after school job cleaning medicine bottles in a local pharmacy. It was shortly after World War 2 had finished and many things were still in short supply. In Hawera – and perhaps elsewhere – chemists were the camera stockists, together with all the other photography bits, including film, developing kits, enlargers and all the other stuff. Photography then was an activity where a knowledge of chemistry was helpful, particularly if you mixed your own developers and other formulae. On joining the Hawera Camera Club I was introduced to all sorts of magical things by very talented members. I started to learn the craft of photography and came to love and enjoy it. I was very privileged to have the guidance of those early mentors and teachers.

Over time I’ve been involved – as many of us are – in the administration of the various organisations that I’ve joined. I’ve had the pleasure of being the President of the Upper Hutt Camera Club, the Manurewa Photographic Society and the Auckland Photographic Society where I am very honoured to be a Life Member and the current Club Patron. I was very privileged to have been the President of The Photographic Society of New Zealand (PSNZ) in 2000 and 2001. The PSNZ performs a great service to its individual members and its associated clubs. It’s the umbrella organisation for New Zealand recreational photography and provides structures and sound direction for photographic achievement, with its Honours distinction system (modelled on the Royal Photographic Society) being amongst the best in the world. Within the PSNZ I’ve been fortunate to have been awarded a Fellowship of the Society and a Service Medal. I spent many years as a member of - and chairing - the judges selection panel, was a member of the Bowron Foundation and have been an active judge, locally, nationally and internationally.

Monochrome film (negative) was all that was available then, so my introduction was based around learning how to “see” monochrome pictures – a habit that I still maintain. Developing and printing images was time and temperature controlled – very accurately. Then there was the magic of enlarging. There was no greater thrill than watching a print image gradually appear in your developing tray, before your eyes. Mastering the mystery of how to produce a good print was (and remains in this digital age) a very real but satisfying challenge. In 1955 I joined the Army. After 43 years in the Army and airline management I retired, having lived in Australia, Malaya (now Malaysia) and various New Zealand towns. In this time I had also married, had three lovely children, was divorced and remarried. The family resettled, finally, in Auckland in 1978. I had also continued my involvement with photography and joined various camera clubs throughout my working life. My abiding interest (full-time obsession?) since “retirement” has been photography in all its forms, both practical and helping others. 36

Brian is awarded an Hon EFIAP at the FIAP Congress in China, April 2017.

In 2016 I retired as one of the six members of the PSNZ Honours Board after six years of viewing and being involved in the aspirations of hundreds of PSNZ members seeking their photographic distinctions. Being appointed a member of the Honours Board was a great honour, extremely humbling and enormously satisfying - the highlight of my photographic services to the PSNZ.

Photography has been a science-based craft ever since its discovery. The widespread introduction of colour photography in the 1950s and more recently, digital photography, have probably been the most interesting, challenging and, indeed, controversial technical changes in my time. Meeting and coping with these and new technical challenges is never ending, fascinating and richly rewarding.

To cap all my PSNZ experiences I have, this year, had the privilege and distinction of being appointed an Honorary Life Member of the PSNZ – in my view a very great, but undeserved honour.

My skills and experiences have been inevitably influenced and enhanced by countless wonderfully skilled and creative photographic mentors and teachers over the years – too many to name. All of these wonderful people continue to inspire me. My personal interests these days are mostly in the areas of line, form and shape – colour and monochrome; prints and projected images (and travel pictures).

For 16 years I had been the PSNZ Liaison Officer to the International Federation of Photographic Art (FIAP), based in Luxembourg. Representing the PSNZ in this international forum was an interesting experience, as was getting to know the “players” of the various countries and the members of the FIAP Directory Board. In the Liaison Officer role (from which I recently retired) I had also been deeply involved with helping PSNZ members gain their FIAP distinctions (there have been 55 awarded to PSNZ members since 2000) – a very satisfying experience. I’ve been fortunate to have been awarded an EFIAP (upgraded from an AFIAP) for successes in international salons, and an ESFIAP for international service to the FIAP. In April this year the ESFIAP was upgraded to an HonEFIAP, the highest FIAP distinction for services to international photography and the progress of the FIAP. This was a rare honour, being the first to a PSNZ member since 1985.

Where to now? It’s been a wonderful, challenging and continuous learning experience for the past 66 years. I’ve been places, done things and met both ordinary and extraordinary people that I wouldn’t have if I didn’t have this magnificent obsession. Long may it continue.

Locally I’m an active member of SeniorNet, contributing as a photographic tutor to older people. I’m primarily involved in teaching photo-editing and how to make audio-visual shows. I have to say that there are some very clever and talented “oldies” out there who aren’t (yet) members of camera clubs. I learn something new from them at each of our regular sessions. Along the way I’ve owned quite a few cameras, from very basic to very complex ones, both film and digital. (From time to time I still use my 6 x 6cm Rolleiflex, a film camera that I bought in 1961.) I transited to digital photography about 15 years ago and gain a lot of enjoyment from competing in both local and international salons, where I occasionally have some success.

The soapbox by Paul Whitham LPSNZ A NUMBER OF years ago a university in America ran an experiment. They recruited a number of male undergarduate students and told them that a beer company had asked them to test out some advertising and finalise the taste profiles on a range of nine beers. The students were initially shown mock-ups of the advertising and told that the beer ranged from a very strong man’s beer (think something like the Lion Red ads) at one end of the scale down to a very light lady’s beer (almost like a shandy) at the other extreme. The students completed psychometric testing that aimed to rate them along a scale that roughly corresponded to the ways the advertising portrayed. They then tasted the beers and rated them. This was not a blind tasting as the students knew which beer was which. As expected remarks went from “nectar of the gods” to “undrinkable cat’s pee”. When the researcher matched the psychometrics they found a very definite correllation between the way that the person viewed themself and the beer they rated best. Equally the beer that corresponded to the type that the person was furtherest away from scored the least. The kicker with the experiment is that there were not nine beers. There was only one light brew. Non-tasting food colouring had been used to make the appearance of the range of beers. The experiment confirmed that the person’s preconception of something was actually strong enough to influence a physical sense (in this case taste). Now you may be thinking that is all very interesting, but what the hell has it do with photography? Please hang in with me for a while, and all will be revealed. Generally when people take up photography, we start out as generalists. Anything, and in some cases everything, that we find interesting will capture our attention. In terms of the genres we will have nature, landscape, people and maybe a little creative thrown into the mix. But as we progress most people realise that they actually enjoy one aspect of photography more than the others and so we end up focusing on those. In my

case I love photographing people, and the thought of getting up before dawn to shoot the landscape, or a bird, is not something I am drawn to. As we specialise more you will find that you are drawn to the work of other photographers in the same area, and have a stronger attachment to their images. Now that is not to say that you can’t appreciate a good image in another area, but it is extremely unlikely that you will have any form of emotional reaction to it. Essentially we are creating the same situation as in the experiment, in that our senses behave differently based on preconceptions. Where this becomes an issue is when you start to become a judge, because at that point you have to try to look beyond your personal likes. If you are cyncial you could say that the evidence suggests that people who shoot nature have an issue in doing this, because in the major salons, and in the PSNZ Honours, we actually have separate categories for nature. We even accredit Nature judges and try to select people with nature experience to judge them. The reality is that this is done, not because they have an issue judging other genres, but rather a recognition that there are specific skills needed to fully appreciate the image. The problem is that is as far as the consideration goes. All other genres are lumped into a single category quite often called “Open”. Now I would argue that if you accept that you need different skills to assess a photo of a bird, over a landscape, then why do you not accept that the same applies to assessing the landscape against a portrait. If you look at the Royal Photographic Society honours system, at the Associate level the set is entered into one of eleven categories, and each category is assessed by a panel with experience in that area. The categories are wider than simple genres and in some ways focus on approach rather than genre. So what is the answer? To me it is relatively simple.

Why not split up the “Open” category into more distinct blocks and then employ more judges to assess them. And before someone says that is not practical, consider this. Having more judges makes the workload on each judge a lot less. Generally I have found that when I am judging an area I am familiar with I am a lot quicker, than those areas that are not my forte. I would be interested in others’ thoughts on this. Come across to the PSNZ Facebook group and share your thoughts.

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

You can find the group at https://www.facebook.com/ groups/PSNZgroup/

Mono film group exhibition Fred Wotton ASPNZ reports The Monochrome Film Group recently held a successful third biennial print exhibition at the Hutt Art gallery in Lower Hutt from 12 to 24 September. Over 450 people attended the exhibition of 54 black and white prints produced in the darkroom. The group was formed some 17 years ago when a competition judge suggested that the Waikanae Camera Club (now the Kapiti Coast Photographic Society) should look at preserving traditional film photography. Initially, eight to ten members met once a month in the professional studios of one of its members, but digital photography took its toll. By late 2004 membership had declined to five, so membership was then opened up to film photographers in the Greater Wellington area. The group now has 10 members. The aim of the group is to encourage the art and science of black and white photography. The group continues to meet monthly with a formal agenda of technical and artistic topics. Technical discussion covers cameras, darkroom equipment, developing and printing techniques, and print mounting and preservation. Members bring technical problems to meetings and invariably receive advice on how they might be resolved. Constructive critiquing of negatives and prints, from both technical and aesthetic perspectives, is a regular feature. Members also discuss current art exhibitions, exchange magazines, and pool resources in obtaining darkroom supplies. Darkroom photography is alive and well in the Wellington area.

Brian Smith in front of his prints

Emiel Toorenburg in front of his prints

We need your help !!! by Toya Heatley LPSNZ Councillor for Conventions

CONVENTIONS ARE THE major vehicle for PSNZ to deliver on goals that are set out in our constitution (rules). Our mission “Helping Photographers Grow” summarises those goals and underpins everything we do. However, it has become increasingly more difficult to find affiliated clubs and societies willing to host the Regional events, to the point where some years, in some regions, they have not happened. This of course has a flow-on effect because we also have Individual Salons and Interclub Competitions attached to the Regional Conventions. So, if the conventions don’t happen, then it follows that the Salons might not also. Some regions already have events they host along with other close-by clubs and from all accounts these events are well attended, with numbers higher than the PSNZ Regional events. Perhaps with these other events happening, there is no longer a need for the Society to host a Regional event? There are benefits to the hosting club for a PSNZ Regional event. They stand to gain financially if it is organised right and to budget. Any surplus is split as per the Society’s rules, between PSNZ and the hosting club (after the GST has been taken care of), and the entire profit from the salons remains with the hosting club. Not only is there the financial gain, but the media attention that is possible surrounding a Regional Convention can often boost the club membership. It opens a lot of opportunities to promote the hosting club in ways that normally would not be so easy. The benefits continue with the bringing together of the hosting club’s membership to work together on hosting an event to remember. This can give them pride in their club and their region. It provides the opportunity for likeminded people to get together on an annual basis, to make new friends, renew old friendships and generally have fun with their cameras together. The best part of all is that everyone gets to go home with ‘something new’ to add to their photographic experiences and learning. The workshops and speakers over the years that I have been attending Regional Conventions have been amazing. Names that initially meant nothing to me now harbour fond memories and added skills and knowledge. So I ask the question. Do you want to see these events stop? If your answer is NO, then please take your thoughts to your club and discuss the possibility of hosting a PSNZ Regional event. Currently there is no one willing to host the 2018 Regional events and unless we can generate some interest from potential hosting clubs, these events will not happen. If your answer is YES, then perhaps you could share with me your reasons why and offer some alternative ideas for the Society to deliver on its goals. I welcome your suggestions. If you want to contact me regarding this article, please email me at events@photography.org.nz

Judge training workshop Shona Gaitanos enthuses over her weekend As someone relatively young in my photographic journey, I found the judge training workshop to be of huge benefit. I went to the workshop expecting to receive a lesson on composition. Instead I came out with a greater understanding of how to create stronger and more unique images by combining the elements of visual design and composition with a story.Â I have learned the tools to help me evaluate and identify what supports and what detracts from an image, and I have a better grasp of why certain images have an x-factor while others fail.

Both images on this page by Neil Gordon APSNZ

Furthermore, I have been taught how to effectively communicate what I perceive as the strengths and weaknesses of an image and to provide an opinion based on my interpretation of the work. This is valuable to me as a consumer of photography and most importantly as a photographer.Â I have been able to apply my learning immediately when assessing my own photography, both in catalogue and in camera, and I believe this will strengthen my own abilities as a photographer. I am looking forward to applying my knowledge to my own work and, if asked to give feedback, to help others to make the most of theirs too.

Shona only joined the Hutt Camera Club two months ago. Her review clearly shows that the Judge Training weekends are relevant regardless of your level of experience.

Stratford impressions HOW DID WE fare at the Central Regional Convention? CameraTalk sought out the opinions of the attendees. “Bruce Girdwood and Shona Jaray did much to dispel some of the mystery about going for photographic honours in a very informative session. I look forward to participating in the webinars that will explore this in more detail later this month.” (Glen Innes, Wellington) “The speakers, particularly Newell Grenfell, Ron Willems and Kevin Bone… Thank you to the entire Stratford team for putting on a wonderful convention that has helped to further inspire our photography.” (Mark Berger APSNZ, Wellington) “The salon images were well displayed, both print and digital. The dinner entertainment made the most of local talent, and the committee and their helpers all made us feel very welcome.” (Alison Viskovic FPSNZ) “After a circuitous ride through the Taranaki hinterland Fred Dagg (aka Bryan Hocken) met us near the gate to Mata Rata Downs, a sheep farm near Tarata village. Bryan, the owner, regaled us with local lore and explained that the farm was an international tourist attraction. He was assisted by his daughter, their family and the odd Woofer.” (Marg Jorgensen LPSNZ) “I’m returning to Auckland from a fantastic time in Stratford at the superbly organized PSNZ Central Regional Convention. A highlight for this city gal was being ‘down on the farm’ – sheep, lambs, shearing and new pups – bliss!” (Moira Blincoe LPSNZ) “This was my first toe-dip into a PSNZ convention. It was so great to put names to faces and learn so much more about the craft of photography.” (Mary Livingston LPSNZ)

Brian by Helen Westerbeke FPSNZ

“Congratulations to Sue Morton and her committee for an excellent weekend! Highlights included men who rose to the challenge and wore Shakespearean bloomers and tights to the banquet! I look forward to seeing some images from the weekend – do share them please.” (Toya Heatley LPSNZ ANPSNZ)

Stranded on the Forgotten Highway By Vivianne Baldwin APSNZ ON SATURDAYâ&#x20AC;&#x2122;S FIELD trip we were booked on the Forgotten World Rail Trail and were transported by car to the start of the journey, about 20 minutes away. Carol and Dave were our hosts, with Dave leading the way in his rail buggy and Carol meeting up with us at our planned afternoon tea stop. The scenery was beautiful as we travelled through parts of the country seldom seen. We were quite lucky (we thought) as ours was the last buggy, so of course we were able to make a couple of extra unscheduled stops. For instance, as the rest of the group railed on, oblivious to our devious ways, we stopped to take photos of a derelict camper van! How cool was that, we thought! We quickly caught them up at the next scheduled stop and took photos

That camper van by Vivianne Baldwin APSNZ

of a lovely old vehicle that had come from Horopito. A perfect subject for a little bit of HDR. We set off again in convoy and stopped by an old sheep run. After a few minutes it was all aboard once more and we climbed on our rail buggies (some

Trackside treasures by Vivianne Baldwin APSNZ

with more agility than others) and away… they went! Richard our driver turned the key on, took his foot off the brake, and pressed the accelerator as usual… and…nothing! He tried again and again - still nothing as we watched in dismay as our travelling companions railed off into the sunset. We tried shouting but to no avail - it fell on deaf ears! Mmmm, okay, so what to do. We had the contact phone number for our tour operator Carol, and we knew she had a vehicle at the next stop about 15 minutes away by rail. But there was no signal for our Spark mobiles. We knew that eventually someone would notice we were missing and the group would come back that way. The ‘boys’ set to work to see if they could solve the problem. They lifted up the engine cover and looked - and decided it may have been the throttle cable starter connections, a job for Dave to sort. Had it been a computer I am sure Mark would have quickly solved the problem. As for me, I just took photos of the action!

We wandered around taking a few photos. Mark contemplated going to a farmhouse he could see but couldn’t get to as there was a stream in the way. Every now and again one of us would futilely attempt to start the buggy but of course it didn’t! The one passing vehicle on the road across the stream kindly returned to us but was also unable to help, due to no mobile signal. We all agreed we would be rescued eventually and the weather was warm and sunny. After almost an hour of waiting Dave returned to rescue us. As we had guessed the rest of the group did not notice us for a while as they thought we were taking photos! The other issue was that all the buggies had to be turned around before our ‘rescue’ attempt could be undertaken. After a failed attempt to restart the buggy we were towed to the rest of the waiting group where we had a much needed comfort stop, a wonderful cuppa and the choice of delicious muffins. Unscheduled stop aside, it was a wonderful fieldtrip. A big thank you to the Stratford Committee for organising the trip - and the whole regional convention. Special thanks to my three great travelling companions - Brian from Stratford, Mark from Wellington and my husband Richard. Thanks for sharing the adventure!

Time for some mechanical intervention by Vivianne Baldwin APSNZ

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

We are ready! ARE YOU READY ? It’s not too late to join us and enjoy three days of photographic discussion, learning, creating and general socializing with new and old friends. Put aside your other commitments and relax with our five presenters and fellow photographers, share ideas and learn new skills. Ken Ball will launch his new book titled “She”, and will enlighten us on the method of publishing. Wendy Verity will demonstrate the methods used for art photography on Friday evening. Terry Hann GMNZIPP will illustrate the use of “layers” in his commercial photography business on Saturday morning. He will also show some short videos made on an image stabiliser and iPhone, which are relatively inexpensive but highly versatile with creative technology.

The funniest images convention attendees are likely to take will probably be at the “Pink and Black” dinner on Saturday evening, and Sunday morning - for some! Some of those attending will be going home with their arms full of trophies, certificates, raffle and spot prizes, new images and giveaways. We hope everyone will have some fond memories to take home also. The venue for the 2017 PSNZ Southern Regional Convention will be the Richmond Town Hall, Cambridge St, which is in the Richmond CBD, surrounded by motels and shops.

Please visit http://southern.photography.org.nz/ for more information. For the quickest way to register, visit http://www.nelsoncameraclub.co.nz/ sr-registration/

This will be followed by Esther Bunning’s GMNZIPP presentation on how she makes her stunning portrait images, for which she is well known in professional photography circles. Esther is New Zealand’s Nikon Ambassador and as such she will be accompanied by Nikon’s NZ agents who’ll bring an assortment of Nikon gear to the convention for you to try and perhaps buy. Tracey Scott FPSNZ will fascinate us with images of Ethiopia, taken on a recent photojournalism trip for a travel agency. Our sunrise Boulder Bank field trip is fully booked but there is still room on the main field trip to Higgins Heritage Park and to the WOW Museum. We’ll have some models at the heritage park for you to photograph, along with many of the items on display in and around the sheds. The “Park” staff will also fire up one of the steam tractors for those coal, fire and steam-type images.

Councillor profile:

Toya Heatley LPSNZ Toya Heatley LPSNZ recounts her photographic journey One of my earliest photographic memories is of rummaging through my father’s junk drawer and finding an old Box Brownie. I was fascinated with this odd-looking device. I never saw him use it but he assured me that he did. Fast forward to the 1990s when my father travelled to Norfolk Island. On his return, he purchased two cameras at the duty-free shop, one for himself and one for me. They were Nikon RF-10s and that is when I really got interested in taking photos. My father and I would compete with what we called our postcard shots. However, affording the film and developing was difficult while raising a young family, so the camera didn’t get a huge amount of use. Photography took a step back after that while I sorted my life out, moved from Auckland to Hamilton, then later to Wellington, and married for a second time. Digital cameras were making inroads into the market and I purchased my first compact digital camera. I enjoyed the freedom of not being limited to 12 images and a week’s wait to see them. I went ‘photo crazy’ and spent a lot of time photographing the flowers in our garden, trying to get the best out of my little camera. When I purchased my first Fuji Finepix pro-sumer camera (the first step towards a DSLR), I sought out learning opportunities. I went to the local high school evening classes and was taught several different photographic techniques, using digital cameras. At the end of the course we were encouraged to join a local camera club, which I did. The club I joined was one that went out lots, drank lots of coffee and showed their photos once a month. It wasn’t a good fit for me, so I went to a neighbouring club (Hutt Camera Club) to see if they were any better. The first night I attended they were calling for images for an interclub competition so I immediately offered up one of mine. It was of a shadow on an oil tank that I thought looked 46

Toya at Parliament with images from the NAWIC National Exhibition. Image by Colin McDiarmid

like a silver fern. It ended up in the selection that was put forward, but I can’t remember how well we did. I think the year was 2004. (I recreated the image many years later to get a copy in good resolution. It had to be taken in the same month at the same time of day to achieve the same shadow.) It wasn’t long before I was not only an active member of the club, but also serving on the Committee for several years. I am a firm believer that if you enjoy something that others are providing for you, then when the time comes you should give your time also. Pay it forward for the next generation of members, so I did. In 2006 I had my first images on display in a real gallery. The Ronald Woolf Memorial Trust Exhibition was held at Expressions in Upper Hutt and I had two images accepted. One of them was that original shadow image that had been selected for the Interclub when I first joined. In 2007 D-Photo Magazine held a competition with the topic, ‘Shadows’. I entered the same image again - and won the competition. The prize ... having my image published in the magazine, and another camera! That one was passed to one of my sons in the hope that he would enjoy my hobby too. I was well and truly hooked on photography by this point and entered the club’s end of year Portfolio competition with some black and white images. The set of six did well and one member encouraged me to build on the set and submit it to the PSNZ Honours Board, which I did. I was awarded

my Licentiate in 2007. Another high point in my photographic career was being asked to take some images for the NAWIC (National Association of Women in Construction) National Exhibition titled ‘Celebrating Women in Construction’ in 2012. I believe that 21 or 22 of my images were used in this exhibition which launched in Wellington, then travelled to Christchurch and Auckland before being returning to Wellington to be shown again in Parliament Buildings. As the principal photographer for the exhibition I received a little more attention than I was used to, but enjoyed seeing my images on the walls. I was still photographing subjects in many different genres and hadn’t really settled on any one area of interest. I spent many years trying all sorts of different techniques and made the most of any opportunities that came my way. Now, years later, my photography has changed so much. My gear now comprises Canon camera bodies, and Canon and Sigma lenses. My focus has narrowed to the field of Nature Photography, and birds in particular.

I enjoy a challenge, so the faster the bird the better. I have some mobility issues now, so sitting patiently waiting for that magic bird shot is a lot easier for me than walking for miles to get the perfect landscape or architecture shot. I have enjoyed many successes with my bird photography and am always striving to achieve the ultimate money shot. I am now in my third year of serving on the PSNZ Council, the first two years working on the website redesign and the IT side of things. Since April this year I have taken on the Conventions Portfolio. Attending conventions played such a huge part in my growth as a photographer that I want to try and give that same experience to others. It is a challenging role but, as I said before, I enjoy a challenge. I don’t see my passion for photography leaving anytime soon. I have many things yet to achieve before my camera ends up in a junk drawer like my father’s Box Brownie. My mother who is also a keen amateur photographer, is a Fellow of the PSNZ, so my goal is to reach that level too. If my current pace continues it may take some time, but I will enjoy every minute of the journey!

Australasian gannet pair by Toya Heatley LPSNZ

Chrissy by Toya Heatley LPSNZ

Owhiro Bay by Toya Heatley LPSNZ

Survivor by Toya Heatley LPSNZ

Tauranga rail bridge by Toya Heatley LPSNZ

Dunedin’s 2018 National Convention guaranteed to inspire By Melanie Middlemiss LPSNZ WHERE WILL YOU find amazing wildlife, stunning scenery, a fascinating history and welcoming southern hospitality? Naturally, Dunedin! The Dunedin Photographic Society is delighted to be hosting the 66th PSNZ National Convention from 19 to 22 April 2018. The convention will be held at the Dunedin Centre, located in the Octagon at the heart of the city. Programme planning is well under way around the theme of Naturally Dunedin. We will be showcasing the amazing photographic opportunities that Dunedin has to offer, along with providing convention attendees the opportunity to expand their knowledge and horizons through our lineup of talented presenters. Our first keynote speaker, Joe Cornish, will be joining us from the United Kingdom. “Photography is simply the greatest job in the world. It expands and deepens how we see the world.What else can do that?” asks Joe.

Black Mount by Joe Cornish

Joe, a Sony Global Imaging Ambassador, is a landscape photographer with a focus on conservation, environment and education. Although adventurous and experimental in matters of technique, Joe is a traditionalist and an advocate when it comes to his subject matter. Joe will present two talks - the first about his experiences and photographs from time in Antarctica and the Arctic, and the second about the evolution and revolution of a life in landscape photography.

Our second keynote speaker, Steve Gosling, also hails from the UK. “Communicating mood and emotion are my most important motivators for making images. I’ve never been overly concerned with technical perfection or producing an accurate pictorial record of a subject or a location. For me the heart of photography is to capture and communicate what I’m feeling, as much as (if not more than) what I see at the time of releasing the shutter. If my photographs speak to the viewer on an emotional level then I have succeeded in my work,” says Steve. Steve, an Olympus Visionary, is a professional photographer who specialises in producing creative and contemporary monochrome landscape and travel images. His first talk will provide an insight into his philosophy, beliefs and principles that underpin his work. He will discuss the importance of communicating emotion in photography and staying true to your vision as a photographer. Steve’s second talk will discuss the nature of creativity – defining what creative photography is, answering the question about what we call creative, and describing some strategies to develop creativity. In addition to our keynote speakers we have a lineup of other inspiring speakers, including Katherine Williams FNZIPP, 2016 NZIPP Photographer of the Year; Jonathan Howard, Area Manager (Otago/ Southland) for Heritage New Zealand Pouhere Taonga who uses The city below by Steve Gosling

historic photographic resources to inform and advise on building research; and Frank Pawluk, professional photographer and teacher at Otago Polytechnic. Of course, in addition to these interesting speakers we have a fantastic array of half-day field trips on offer. These trips will provide a great chance to photograph a variety of subjects, from wildlife to the coastal sunrise, to historic buildings, to modern street art. One trip Gasworks by Craig McKenzie sure to be popular is the visit to Larnach Castle. Built by politician William Larnach in 1871, the castle is in pristine condition and sits proudly atop the peninsula with sweeping views of Otago Harbour. While small in comparison with the great British castles, Larnach’s version is a decorative feast, set in a Garden of International Significance. There is no shortage of things to photograph here. Another trip of particular interest to many will be the Monarch wildlife cruise. The Otago Peninsula is abundant with wildlife, with many species of seabird nesting on its craggy outcrops. Most famously, it is the only nesting place for the Northern Royal Albatross. On this field trip, MV Monarch will take us out to the cliffs below the colony to hopefully catch a glimpse of these magnificent birds in flight. If conditions are favourable we may also be able to get close to the Otago shag colony and New Zealand fur seal pups. It’s worth noting that places on this trip will be limited, so if you are interested don’t hesitate to put your registration in early. Many of PSNZ’s trade partners will also participate in these field trips, making camera equipment and accessories available for attendees to test and trial. More information about all the trips and speakers is available on our website, www.naturallydunedin. co.nz. Registrations will open on the website in early December and we look forward to seeing you all in Dunedin in April 2018!

Tunnel beach by Craig McKenzie

Central Regional Salon - 2017 Awards Prints The Palmerston Cup for the winning club in the Central Region interclub print competition – Hawera Camera Club

Sho’s garden party by Alice Chapman

Ratana temple by Mary Moore

Faceless by Miriam Hancock

Man and dog by Kevin Bone FNZIPP

Misty morning by Margaret Cook

The rapture by Tim Bond

The Stratford Cup for the Champion Print from the club sets entered in the Central Region interclub print competition – Man and dog by Kevin Bone FNZIPP

The Colin Rush Cup for the Champion Nature Print in the Central Region individual salon – New Zealand dabchick with young by Chris Helliwell LPSNZ

The Stan & Doreen Long Cup for the Champion Print in the open section of the Central Region individual salon – Tobias by Alan Gould

Central Regional Salon - 2017 Awards Projected Images The Wanganui Cup for the winning club in the Central Region interclub projected image competition – Wanganui Camera Club

Treecat by Ormond Torr

Blue berries in winter by Margaret Walden

Ohakune afternoon by Glyn Hubbard LPSNZ

Light juggler by Heather MacKenzie

Window washer by Jack Michalski

Isolation by Les Rackman

TheÂ Heney CupÂ for the Champion Projected Image from the interclub sets entered in the Central Region interclub projected image competition - Tui feeding by Sue Morton

The Bruce Harding Cup for the champion Nature Projected Image in the Central Region individual salon - Kingfisher with crab by Toya Heatley LPSNZ

The Jocelyn & Lyal Barrett Cup for the Champion Projected Image in the open section of the Central Region individual salon - In my father’s eyes by Rachel Stevens

Creative Focus Competition - 2017 THE PUKEKOHE-FRANKLIN Camera Club has for the fifth year organised and run the online digital Creative Focus Competition. The competitors’ talents have certainly made the competition what it is today. Competitors often say it is their “best competition” of the year. Hardworking committee members have found this very rewarding, keeping us motivated to continue to build on the success of the competition. To all competitors, thank you for supporting our competition and challenging yourself to think more creatively to produce images with that innovative edge. Almost everyone today has a camera at their finger tips, with mobile devices getting better and better with their technology. This challenges us to think more out of the square and add that special personal point of difference. This year we received a total of 782 images with 326 of those images receiving awards or acceptances. Congratulations to all the award winners. The images

Motion Blur Quickstep by Jill Jackson

look amazing in this year’s book and are a great inspiration to others.Visit the website to see this year’s winning images www.creative-focus.co.nz or join our Facebook page to keep up to date with Creative Focus happenings. The four sections in the competition allowed for creative juices to flow. Creative Focus is the annual topic and this year the committee added Emotive Scape, Nature’s Palette and Motion Blur. It is often challenging to find judges when they too do not want to miss out on entering the competition. We are thankful to the very creatively gifted judges - Judy Stokes APSNZ, Jo Curtis LPSNZ and Sue Dick - for their long hours of judging and intense deliberation to come up with the winning images. Committee members greatly appreciate the support they have had from our sponsors and PSNZ to bring this competition together. Susie Hare - Creative Focus Competition Convenor

Creative Focus - Supreme Image & Gold Damaged by Noline Skeet

Creative Focus Competition - 2017 Emotive Scape Gold Companionship by Jay Drew LPSNZ

Natureâ&#x20AC;&#x2122;s Palette Flowers in the rain by Leonie Richardson

Triple triumphs in the Nelson National NationalTriptych Salon WHAT DO A weekend in Wellington, a trip to Iceland and some dolls’ eyes have in common? Answer - they all provided an opportunity to produce a top image for the 2017 Nelson National Triptych Salon. Nelson’s Irene Callaghan APSNZ enjoyed a breakaway weekend wandering and photographing around Wellington. It was an ideal opportunity to soak up the city’s moods. From performing artists to architectural icons, from noisy traffic to tranquil gardens, from historical museums to modern shopping malls, Irene absorbed the total ambience of the city. Her photo impressions were portrayed in an impressive multilayered 2017 Triptych Champion Print entitled “The whole city seemed like a theatre”. William Wright FPSNZ from Lower Hutt travelled considerably further than Wellington for his winning triptych - to Iceland in fact. Like Irene he also enjoyed a walk around a capital - the Icelandic capital, Reykjavik. But unlike Irene’s impressionistic image William’s photograph is very specific. It captures, in an abstract manner, the balance he observed between a minimal number of elements - a corrugated building, a drainpipe and a shadow. His simple but very strong depiction, “Reykjavik-abstract” gained the Champion Award in the projected Image section. New to the Salon this year was a special trophy for the triptych which best depicted a well known phrase or saying. The choice of the phrase or saying was left to individual entrants and some very enterprising triptychs resulted! Dunedin’s Kathy Richards is, by her own admission, a hoarder of things that “just might come in handy for a photograph”. Even so her “usedto-finding-odd-things-being-photographed” daughter was shocked to come home from school to find mum hard at work photographing dolls’ eyes stuck into bits of fruit and into an eggshell.You need to be really creative to succeed in the current age of photography and Kathy’s creativity paid full dividends by winning her the trophy for the best phrase or saying triptych with “Keep your eyes peeled”.

Other major awards included Honours Prints - Brian Dowling, Karen Thorne APSNZ Projected images - Stephanie Handley APSNZ, Denise Manning LPSNZ, Pauline Smith LPSNZ Highly Commended Prints - Liz Hardley FPSNZ LRPS FIAP, Jeanette Nee APSNZ, Judy Stokes APSNZ Projected images - Dianna Hambleton LPSNZ, Mary Hinsen, Pauline Smith LPSNZ, Alison Viskovic FPSNZ Thanks go to everyone who entered this year’s Salon and to the selectors John Boyd Hon FPSNZ Hon PSNZ APSNZ Aliah Jan FPSNZ MNZIPP AFIAP and Sally Mason FPSNZ who worked most conscientiously in appraising the 306 entries received. The opening of the Salon’s print exhibition, the first showing of the selected projected images and the presentation of major awards took place in Nelson at Morri Street Cafe on Sunday 1 October. The print exhibition continues at the cafe while the projected images may be viewed at Hanafins Camera and Video, 218 Trafalgar Street, Nelson both until Saturday 21 October. Members of the Triptych Team at Nelson Camera Club gratefully acknowledge the help of the Salon’s supporters, particularly the Photographic Society of New Zealand and the Salon’s major sponsors - Canon, Nelson Building Society and Post Haste Couriers.

Reykjavik-abstract by William Wright FPSNZ

Sally Mason FPSNZ presents William Wright FPSNZ with the supreme award

Keep your eyes peeled by Kathy Richards

The whole city seemed like a theatre by Irene Callaghan APSNZ

New Brighton National Photojournalism Salon - 2017 THE NEW BRIGHTON Photographic Club would like to thank everyone who entered the 26th National Photojournalism Competition. Our judges were PSNZ President Peter Robertson LPSNZ, Maree Turner APSNZ NZIPP and Gilbert Wealleans, social editor for the Star newspaper. They completed their work on 12 August 2017. The three judges, along with volunteer members of NBPC behind the scenes, worked their way through amazing Sport and Action images, with a short break before tackling the Street and Social Commentary category.

This year 85 entrants entered 488 images in the two divisions, an increase on last year. The quality of the work submitted has really raised the bar, making it more difficult to decide on the top and winning images. We would like to congratulate Chris Watson from Te Anau with his Running the line, winner of Sport and Action, and overall Champion Chris Duggan from Southland for his image Not quite poreless, winner of Street and Social Commentary. We were honoured to have Chris Watson and his wife with us to receive The Ted Walker Trophy. We thank everyone who entered the competition. We look forward to receiving your entries in next yearâ&#x20AC;&#x2122;s competition, closing on 31 July 2018.

Guy Wright (President of NBCC), Chris Watson (centre) receives his trophy from Ron Willems Hon FPSNZ FPSNZ FAPS AFIAP ARPS

Running the line by Chris Watson

Not quite poreless by Chris Duggan

Vivianne Baldwin APSNZ Councillor for Membership reports on Membership matters

RECENTLY PSNZ COUNCIL members have been looking at subscriptions and the allowable timeframe for renewing PSNZ annual subscriptions. In the past we have been a bit generous in our timeframes and each year unpaid members have had until 20 May before their membership has been removed from our data base. As announced at the AGM 2017 the subscription rates for 2017 – 2018 were increased and the new rates are •

$85.00 Individual membership

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$95.00 Double membership, for two people at the same address

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$105.00 Family membership, for three or more people at the same address

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$52.00 Junior membership, for those under 18 years

All amounts are payable in New Zealand dollars (NZ$) and, for New Zealand residents, include Goods and Services Taxation (GST). Membership is for the Society’s financial year to 31 December 2018. Invoices will be sent to all members in November advising their subscriptions are due on 1 February 2018. Please note that a late payment fee of $5.00 applies to all subs paid after 1 February 2018. On 1 March 2018 an automatic email will be sent to all members who have not paid, advising their subscriptions will be suspended for non-payment, if they remain unpaid by 31 March 2018.Your membership will be recorded as relinquished and this means you will no longer receive communication from the Society.

Print circles The PSNZ mission is to ‘Help Photographers Grow’. Currently PSNZ members can join a print circle. Lindsay Stockbridge LPSNZ from Whanganui is the coordinator of nine circles. Print circles help members to improve the art of photography through feedback. Participants learn how to critique images in a nonthreatening environment and they help to promote friendship among PSNZ members. If you are interested in joining a print circle please contact Lindsay Stockbridge, email dilinz@actrix.co.nz. Breaking news – an audio-visual circle! PSNZ is excited to announce that we will support an audio-visual (AV) circle. This new circle will start next year and will be run by Trish McAuslan APSNZ EFIAP AAPS. The AV circle will provide a safe site where AVs can be lodged and commented on by members of the group. Details are currently being finalised. It will be free to all PSNZ members and members of an affiliated club can join for an annual fee of $20.00. Help expand our circles If you have an interest in an area of photography and would like to expand our circles please contact me with a proposal so that I can submit it for consideration to the PSNZ Council. For example, circle suggestions might be Fine Art Flower Photography, Nature Photography, or Landscape. These could be run as a Facebook page such as the Travel with Passport. (Contact Lynn Clayton if you are interested in joining this Facebook group.)

Benefits of PSNZ membership include •

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

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

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Discounts at some NZIPP events.

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

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

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

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

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

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

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Members are entitled to access online help sheets.

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

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

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

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Enjoy product discounts or savings.

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

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

Volunteer Position Available PSNZ Webmaster The Photographic Society of New Zealand (PSNZ) hosts several websites, consisting of the main site (photography.org.nz) which everyone is familiar with, several smaller satellite sites for the conventions and the International Salon.. All these sites are built using Wordpress and use the Wordpress Content Management System (CMS). We are currently looking for a Webmaster to maintain and update these sites. Skills required: •

Experience with hosted Wordpress sites and Wordpress CMS.

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Experience using Visual Composer to edit Wordpress sites (training can be provided)

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Experience with blog posting.

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The ability to trouble shoot log in issues for members having problems.

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The ability to effectively liaise with developers, database co-ordinators, the hosting company and the PSNZ Councillor responsible for the sites.

These websites require regular updates so you need to have some spare time available on a weekly basis to keep the sites up to date. You would be reporting to the PSNZ Communications Councillor. A small honorarium is available for this position. If you are interested and have the above skillset, please email webmaster@photography.org.nz and provide examples of sites you have worked on or developed. A full job description is available upon request.

Obituary Graham Richards Hon PSNZ APSNZ 13 October 1927 – 3 October 2017 WITH GRAHAM’S PASSING, the photographic art community lost a talented friend. He was one of those rare individuals; he was not only a gifted, innovative photographer but he also had a flare for administration. If there was a suggestion for a camera club project which would enhance the public appreciation or involvement, particularly by beginners or youth, in photography, Graham was the first to volunteer his time and talent. Often the idea had originated with him, and his enthusiasm would have us all working to turn a dream into the reality of a successful occasion. From the early 1960s some of these events included presentations such as “Tokoroa Today”, a valuable archive of the town in 1962. Competitions such as “People in Pictures”, a national and international photographic competition (Salon) for photographic prints and slides became an annual event for twentyfive years in the life of the Tokoroa Photographic Society (now known as the South Waikato Camera Club).

His many exploits enhancing the involvement of people in photography saw him awarded Honorary Life Membership of the Photographic Society of New Zealand in 2011. His main work was with a 35mm camera loaded with colour slide film. His ability in most fields of photographic endeavour was exemplary, but it was in colour expression and design that he excelled. His abstract images, created via a sliver of patterned glass and a coloured background, were inspirational for many fellow photographers. Coupling all his exploits in photography with a willingness to share his techniques and knowledge, you had an exceptional friend and mentor, whether one was an experienced photographer or student beginner. Graham, thank you for the times we shared.

Roger Brownsey Hon PSNZ FPSNZ

Following his retirement to Northland, Graham organised a photographic exhibition with the theme “Highway 10”. He invited me to join him in an exhibition of prints in a Kaitaia gallery: “Me and My Arty Farty Friends”. During his Tokoroa years Graham also served on the PSNZ Council. National involvement saw him convince Tokoroa Photographic Society that we should organise a Northern Regional Convention. Graham was a gifted and innovative photographer, reflected in his achievement of Associateship (APSNZ) in 1995. Impact by Graham Richards Hon PSNZ APSNZ

Coming up Guy Needham’s exhibition – the Mentawai 25 October to 12 November, Guy Needham will mount his third exhibition at Studio 541, 541 Mt Eden Road, Auckland.Visit www.thementawai.com for more details.

Wellington Photographic Society - 125 year exhibition The Wellington Photographic Society is one of the longest running such societies in New Zealand and this year they are celebrating 125 years since some passionate amateur photographers held the first meeting in Nov 1892. This year their exhibition will once again showcase the photographic creativity of WPS members as well as celebrate the history of the society in recognition of their 125th anniversary. The exhibition will be held at the Lightspace Gallery, Academy of Fine Arts, from 17 November to 4 December.

The last image

Foot in mouth by Toya Heatley LPSNZ