CameraTalk April 2024

NZ CameraTalk

To promote the wider enjoyment of photography

April 2024

PRESIDENT

Paul Whitham APSNZ

m: 021 644 418 e: president@photography.org.nz

SECRETARY

Chryseis Phillips

m. 021 0277 6639 e. secretary@photography.org.nz

EDITOR & ADVERTISING

Paul Whitham APSNZ

m. 021 644 418 e. editor@photography.org.nz

SUBEDITOR

Lindsay Stockbridge LPSNZ

t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz

We need you

CameraTalk is the official magazine of the Photographic Society of New Zealand (PSNZ), largely written by members of PSNZ , for the members of PSNZ to enjoy and learn from.

The editorial team welcomes any contributions from members of PSNZ or affiliated clubs. If you have something to promote, or celebrate, we would love to hear from you.

Also, if you have ever wanted to write something for a magazine, then this is your chance.

If you would like to contribute contact either Lindsay (dilinz@ actrix.co.nz or myself (editor@photography.org.nz) and we can help you out.

Regards

Paul Whitham APSNZ Editor

NEXT CAMERATALK DEADLINE

25 May 2024

Email your contributions to the Subeditor. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned.

The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ. On

Image by Lia Priemus (Full photo on page 70)

A Note from the President

This is the last piece that I will write for CameraTalk as PSNZ President. At the end of the month, after three years in the role, I will hand over the chain of office to the new President. In this final piece I am going to look back over the last three years.

When I decided to stand for President in late 2020 I wrote down my thoughts on what I wanted to achieve in the role. I have just reread that document and it made me realise that while a couple of those objectives have not been achieved, the majority have. I guess it is part of our human nature that we do tend to concentrate much more on what has not been achieved than what has.

While Covid was present in 2020 I guess none of us realised that it would take another three years before we were at the stage of simple acceptance and living with the virus. The shutdowns and regulations in both 2021 and 2022 caused the cancellation or changes to many of the staple activities that the organisation delivered. We proved to very adaptable.

Perhaps the biggest challenge that I faced was right at the top. In the month that I took over the organisation lost its Treasurer. Fortunately that is my profession, and at the time I was not working, so while it strictly didn’t align with the Constitution, it was necessary for me to look after both roles until we could recruit someone.

During this time we moved the Society’s accounts onto Xero which provides a much better platform than when they were locked on the Treasurer’s computer. We were also able to structure the accounts so that we had much better information on how the individual activities ran within PSNZ.

I also inherited a Council that was low on numbers and in fact had been reducing in size for a number of years. It was therefore vital that the first thing needing to be done was to reinvigorate Council. It is no understatement that the organisation was in a very perilous position at the time.

Fortunately sufficient members came forward and took on the challenge of being on Council. Such a large change in Council presented its own issues as new members had to be brought up to speed without having the benefit of much historical knowledge. Fortunately I believe we have gone through that issue and Council is much the more stronger for it.

One of the important objectives that I set back in 2020 was to make better use of technology, both to streamline processes and to reach members. We changed the way that Council reported, from a system based largely on email, to one with regular Zoom sessions. Zoom sessions were also held with Club Presidents and the wider membership on a number of occasions. To be honest I was

a little disappointed at times with the number who attended the sessions, but it did appear that those who made the effort found them useful. We also delivered a series of online seminars and these will continue into the future.

Another one of my objectives was to strengthen the link between PSNZ and affiliated clubs. We created a Councillor for Club Liaison, with the specific task of getting information through to club members who are not PSNZ members in their own right. This is a work in progress, even though the position is in its second year. As I said in the last CameraTalk, clubs are a vital part of the photographic landscape of NZ and key to the ongoing success of PSNZ.

The final major change that has occurred in the last three years is the way that conventions are organised. While the move from a club-organised convention to one organised by a central committee was initially discussed in the last year of Moira’s Presidency, the impact of Covid pushed everything back a year. It wasn’t until 2023 that we ran events fully under the new model.

Over the last three years there have been many occasions when people have said how difficult the role of President must be. They are right in that it is not an easy position but that is not to say that it is also a very difficult one. The reality is that the President heads a team. How well the team is performing determines how difficult the role of the President is. Because ultimately the President is responsible to ensure that what the members expect is delivered.

I have to say that on the whole my team has served both me, and more importantly the organisation, well.

Many people have helped over the last three years, but I want to single out three in particular.

The first is Moira Blincoe LPSNZ, who was always there when I needed advice, particularly in my first year.

The second is Toya Heatley FPSNZ AFIAP, who acted as Vice-President and Councillor for Events. Toya and I have known each other for more than 12 years and have worked together on a number of occasions prior to our involvement in PSNZ. She provided both sound advice and a good ear when I needed to either explore ideas or simply vent.

The third person is John Boyd Hon FPSNZ Hon PSNZ APSNZ,who as PSNZ Patron was somebody that I could go to when I needed advice, especially if it was something that I either needed background information on or I suspected would not be well received by the older members.

At the AGM I will formally hand over to Caroline Ludford LPSNZ LRPS ANPSNZ, who will be the next President. I wish her well in that endeavour.

Paul Whitham APSNZ

Key Dates for the Diary

April 10 AV Workshop 2 - Preparing Images

April 17 AV Workshop 3 - Introduction to PTE AV Studio 11

April 24 AV Workshop 4 - Adding an Audio Track

April 25

Canon Online Round 2 closes

April 28 PSNZ AGM

May 1 Entries for New Zealand Landscape Salon open

May 1 Entries for Trenna Packer Salver open

May 1 Entries for Tauranga AV Salon open

May 1 Entries for Māwhera National Salon of Photography open

May 10-12 Astro Workshop, Lake Tekapo, with Joseph Pooley

May 11-12 Judge Training, Christchurch

May 17-19 Landscape Workshop, Dunedin, with Megan Maloney

May 31 Entries for Māwhera National Salon of Photography close

June 1 Entries for Sony National Salon Competition open

June 2 Entries for New Zealand Landscape Salon close

June 5 Entries for Tauranga AV Salon close

June 15 Entries for Trenna Packer Salver close

June 25

June 30

Canon Online Round 3 closes

Entries for PSNZ National Salon close

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Discover the new camera made in Germany.

Meet the Council - Sandy Odell LPSNZ

I am the PSNZ Club Liaison Councillor. My role is to be the “go to” person and work alongside our affiliated camera clubs throughout the country. Like everyone else on Council I volunteer my time.

I send out a monthly Newsletter to keep clubs updated with everything that is going on within the PSNZ. This would include competitions, something that might be passed onto the clubs by Council, or answering questions on behalf of your club. My role is also to ensure that your queries and questions are answered or passed on to Council for discussion.

Communicating is my key role. I am here to listen to any concerns your club has with PSNZ events.

Another project I manage is the mentoring programme. I do my best to match people with good tutors who offer their time to help people in need of mentoring. Sometimes this can be difficult if there are not enough volunteers to help fellow photographers grow in their craft. I travel frequently to visit family and I plan to call on as many clubs as I can when I am passing by. This may not always work, due to my timetable, but attempts will be made to coordinate visits where possible.

My passion for photography started many years ago, originally during my first time in the Upper Hutt region. I found a small club that was lots of fun as it was very social. We lived in the South Island due to my husband’s military posting in the year 1999. I had recently lost my sister so in 2000 I needed a distraction, and I joined the Christchurch Photographic Society. While in the club I joined PSNZ in January 2001.

My first national convention was in 2002 in Queenstown. That was the best move for me in photography. Since then, I have been hooked on regional and national conventions. Lack of confidence meant it took many years to decide to go for my LPSNZ, and I failed over a few years. However, as my confidence grew, and with support from special friends, I was successful in the end. Don’t give up –find good support people, but make sure you listen too.

I was involved with different committees within the military when I was working for them for a number of years, then on the Hutt Camera Club committee for a few years before the club closed down.

I was asked to join the PSNZ Council in October 2022, doing a small role which I accepted. I am learning as I go, but I’m very grateful for help and guidance from more experienced Council members.

Welcome to Our New PSNZ Members!

Adrian Hall

Angela Keating

Ann Hunn

Catherine Song

Christine Eltherington

Claire Jaycock

Jack Kingston

Jamiee Maharaj

Jill Gardiner

Jo Curtis APSNZ

Joanna MacLean

John Phillips

Jonny Moos

Kelly Taylor Gannaway

Lana Morrison

Lisa Kearns

Lisa Laubach

Lynette Bainbridge

Mike Gannaway

Rohan Simon

Shelley Harvey BPSA

Vicky Volkova

Youngki Hong

North Island Regional Convention

Gisborne 20-22 September

With just six months to go for the North Island Regional Convention in Gisborne, now is the time to start thinking about attending, especially if you wish to fly in and book accommodation. The following motels are holding rooms for a short period, ranging from $100 to $295 per night. They are The Portside, Pacific Motor Inn, Senator Motel and Waikanae Beach Motel.(They also have power sites for motor homes, starting at $30 per night per person).

There is a great line-up of speakers who will also participate in the field trips and pass on their knowledge.

Michael Bradley

Photographer Michael Bradley is based in Hamilton and specialises in commercial, editorial and sports photography. With over two decades of experience he is meeting the photographic needs of a diverse list of clients. He works for a wide range of corporate clients and sporting organisations, including ANZ Bank Ltd, SKYCITY, Foodstuffs, The Edge, Netball New Zealand and photo agencies AFP and Getty Images.

Michael covers a number of major sporting events in New Zealand. He is the official photographer for Netball New Zealand, the ANZ Premiership, and was the official photographer for the 2007 and 2011 World Netball Champs. Michael has also shot a number of Commonwealth Games.

Michael Bradley will be our opening and closing speaker at Gisborne’24. On the opening night, Michael will speak about his Puaki project the why and the how, the challenges and the rewards that led to this culturally significant and very powerful personal project.

For the closing keynote speech, Michael will discuss his current why. He will focus on shooting for yourself first and foremost, and what he shoots to provide himself the creative freedom within the demands of a busy professional life in photography.

John Cowpland

A news, sports and commercial photographer based in Hawke’s Bay.

John can be found on the sidelines of top sporting events, climbing around the top of a crane at the local port or wandering around one of the country’s many stunning farms.

His 30-plus year career started with a broken leg at 16, a stint as an air force photographer then working as a newspaper photographer and going out on his own, now running the team who are official photographers for NZ Rugby and the All Blacks.

A love of action photography has seen John cover the Olympics in Rio and Tokyo, the Gold Coast Commonwealth Games and the World Cups of many sports. John’s work is seen around the world on various news sites and newspapers.

Living in the Bay meant he also covered the cyclone last year. Not only was the community as a whole deeply affected, but many of his commercial clients were either badly affected or were part of the rebuild.

‘Working with Unison, the local power lines company, meant I was out covering the amazing work their crews were doing, often in horrendous conditions, to get the Bay back up and running. Telling their stories was a real privilege, during a tough time in a region I love.’ John has always been a bit of a “tech geek” so the switch to digital and then mirrorless was only natural. The switch to mirrorless and Sony just before the Tokyo Olympics has seen a massive shift in work flow but the change is exciting!

Over the years John has been placed in or won many awards, including Press Photographer of the Year, Sports Photographer of the Year, and a bronze in the 2022 World Sports Photography Awards.

John’s presentation will concentrate on why, how, and the development of his photography over the last 30 years, and what the catalyst was to steer him towards photography when he broke his leg at the age of 16. John will be involved with the field trip to the East Coast Museum of Technology.

Meghan Maloney

A love of capturing New Zealand’s stunning landscapes prompted Meghan to give up a corporate accountant role to become a full-time landscape photographer and educator. Although becoming serious about photography only eight years ago, growing up with a dad who shared his love of hiking and the NZ outdoors, Meghan always had the desire to capture unique moments of light and weather conditions in a way that translates to more than a mere snapshot record.

Meghan will focus her keynote speech on long exposure capture, and in particular her use of long exposure enabling filters. She will explain how she judges the length of exposure required, her choice to use a particular filter or not, all in relation to her pursuit of artistic, sometimes surreal, imagery.

Meghan will lead the field trip to the Kaiteratahi ruins, assisting with the use of filters for long exposures, monochrome opportunities and textures.

Want to Join a Print Circle?

One way to improve your photography is to critique other people’s photographs and have others assess yours. You can do this by joining a print circle. Up to ten photographers circulate their work by mail to other members who have a few days to make constructive comments on the work received, add a new print for others to view, and post the bag to the next person on the list.

Each circle is monitored by a secretary who sends out a roster of each round and ensures the circle is running smoothly. Members can expect the bag to arrive three or four times a year. People are encouraged to keep in touch by adding a short letter to each round, helping them to get to know other photographers and gain useful feedback on their work. Sometimes members catch up when travelling in New Zealand, and they enjoy meeting at PSNZ conventions.

One or two circles currently have vacancies. If you’d like to join, please contact Lindsay Stockbridge LPSNZ at dilinz@actrix.co.nz, or go to the PSNZ website, and we’ll happily settle you into a print circle!

Judge Accreditation Panel News

By Neil Gordon APSNZ, Chair, Judge Accreditation Panel

With recent changes on the Judge Accreditation Panel (JAP), this seems like a good opportunity to update everyone on what we do, and who we are.

What We Do

The Panel was set up under the leadership of Shona Jaray APSNZ in 2012, with the objective of raising the standard of judging in New Zealand and ensuring we have a register of formally accredited judges. The responsibilities are outlined in Bylaw 6, available on the PSNZ website.

Shona Jaray APSNZ and Bruce Girdwood FPSNZ established a training programme, running many weekend workshops over the last decade, both to improve understanding of what judging is about and to recruit new trainees. Those entering the training programme are mentored over about a year, including judging for camera clubs. Those who proceed to pass two formal tests are then formally accredited and appear on the list of PSNZ Accredited Judges.

The workshop programme was badly disrupted by COVID-19, but is now settling back into a new routine of one in-person event in the first half of each year, alternating between Islands, and a Zoom event in the second half of each year. In 2023, we had an in-person workshop in Cambridge in August, and a Zoom workshop in November. There will be an in-person workshop on 11-12 May this year in Christchurch (registrations are rapidly filling up) and a Zoom workshop later in the year (date not yet decided).

New Accredited Judge

In each of the last two years there have been four new accredited judges who successfully completed the process. Congratulations to the first for 2024, Dave Simpson APSNZ LRPS.

Who We Are

I succeeded Paul Byrne FPSNZ ARPS AFIAP as the JAP Chair at the end of February, and would like to say a huge thank-you to him for his leadership and wisdom, and for agreeing to stay on the Panel for now to assist in the transition. I would also like to thank former members Ian Walls FPSNZ, John Reid APSNZ ANPSNZ AFIAP, and Aliah Jan JP FPSNZ AFIAP, all of whom stepped down from the JAP in 2023.

The Panel is ably supported by its Secretary Jenny Whitcombe, and by Jim Embury APSNZ who assists with the administration of judge training events.

Complete List of JAP Members

Neil Gordon APSNZ

Neil joined the Kapiti Coast Photographic Society (KCPS) in 2005, and PSNZ in 2008. His roles in KCPS included President, and chairing the committee that ran the 2013 PSNZ National Exhibition in Wellington. He was an elected PSNZ Councillor from 2012 to 2014.

He started judging for PSNZ in 2016 and was fully accredited in 2018. He has been mentoring new trainee judges since 2019, has been involved in running judge training courses since 2022, and was appointed to the JAP in October 2022. He took over the role of Chair in February 2024.

Neil is mostly a landscape photographer, although he has dabbled in other genres and regularly submits nature images as well. He gained his LPSNZ in 2010 and his APSNZ in 2015 with a set of prints, each of which comprised up to 300 images, blended so that moving cloud elements effectively painted across the sky. As well as his PSNZ judging activities, together with Greg Whitfield he runs the PSNZ Database.

Paul Byrne FPSNZ ARPS AFIAP

Paul relocated from England to New Zealand in 2004 and entered retirement in 2010. He soon affiliated himself with the Tauranga Photographic Society, taking on roles including Secretary and President, as well as Chairman of the Club’s evaluation panel. He served on the Convention Organising Committee for the 63rd PSNZ Convention in Tauranga, 2015. Paul was conferred the APSNZ distinction in 2016 and subsequently received an AFIAP distinction in 2017. The following year, he earned the Fellowship of PSNZ for his documentary images showcasing life in Cambodia.

He was accredited as a PSNZ judge in 2012, leading to his evaluation of photographic work for various clubs in New Zealand, as well as at regional, national and international levels. Paul played a pivotal role in launching the Tauranga National Portrait Salon and joined the JAP in 2020, which he served as Chair from October 2022 to February 2024.

Paul is also a member of the PSNZ Honours Board and authored the book, Evaluating Photographs - a Guide for Image Assessment during the COVID period.

Annette Johnston FPSNZ

A self-educated photographer, with 11 years behind the lens, Annette is deeply curious about most things photographic. She enjoys exploring a myriad of genres including travel, landscapes, wildlife, sports, portraits, street photography, composites and impressionism. Recently, she has been intrigued with the notion that her imagery can have a voice beyond the obvious. She now spends a great deal of time exploring ideas and thoughts within conceptualised images, and has begun writing short essays and poems to bring added layers to her photographic work.

Annette says, ‘A Life Member of Tauranga Photographic Society, I owe an enormous amount to the evaluation system and the generosity of evaluators from within TPS and indeed the wider PSNZ community. I became an accredited judge in 2018 and joined the Judge Accreditation Panel in 2022. I now serve in the interest of giving back to the community that has been so generous to me. ’

Judy Stokes APSNZ

Judy’s photographic journey started (after a career as a classical musician) when she needed to share a fun activity with her 16 year old daughter, so they joined the EdenRoskill Camera Club and often enjoyed a laugh on the way home about the judges!

Judy soon discovered ICM (intentional camera movement), a style she often, but not always uses for her images. She loves the way this free style of photography simplifies scenes and seems to capture the mood and essence of a time and place. Along her photographic journey she also joined the Howick Club and Auckland Photographic Society and was inspired by many of the photographers she came across. She is now a member of the Dargaville Camera Club.

Judy was awarded her LPSNZ in 2012 and APSNZ in 2015, and became an accredited PSNZ Judge in 2018. She was appointed to the Judge Accreditation Panel in June 2023.

Judy has enjoyed success with her landscapes, black and white images, abstracts, astroimages and her creative images in national and international competitions, and has also judged national and international competitions. She enjoys the sense of connection to others through sharing not only her images at exhibitions, but also her techniques through workshops she gives throughout New Zealand and in Australia.

Geoff Beals APSNZ

Geoff has a lifelong passion for photography, enjoying all forms with a particular emphasis on creative, landscape and nature imagery. He has been an accredited PSNZ Judge since 1995 for open photography, and since 2007 for nature. He regularly judges at club level and has also judged for the Whanganui Salon, the Dunedin Salon, the PSNZ National Exhibition numerous times, and the PSNZ International Salon. He joined the JAP in October 2023.

Geoff’s strong interest in bird photography led him in 2011 to volunteer on Tiritiri Matangi island as a guide, and he’s subsequently also become a member of the Kokako Monitoring Team. This has enabled him to indulge his interest by learning bird behaviours and photographing some of our rarest bird species.

Geoff says, ‘Developing my image assessment skills remains a work in progress. I really enjoy evaluating other people’s images and find it hones and stimulates my own photography. It’s always an honour and a privilege to see what other people are doing with their imagination and imagery.’

David Smith FPSNZ

David has belonged to the Manukau Photographic Society since 2013, and was awarded his APSNZ in 2016 and FPSNZ in 2018. In 2019 he gained PSNZ accreditation as a judge, was awarded trophies for photojournalism and contributed prints to the Chinese government’s 70th anniversary exhibition in Wellington. He has also been a selector for the PSNZ National Exhibition, the 2020 and 2023 North Shore Salons of Photography and two international salons. He joined the JAP in March 2024.

In the last five years he has completed 25 short photo essays, printed in book form for personal use. He has also given presentations on visual comprehension, black and white processing and his time as a biologist on Ross Island, Antarctica.

David says, ‘I’m a traveller at heart and I do most of my photography on the road. I set off from home as a tourist but soon become immersed in the life around me. Inevitably I am changed forever by the warmth and hospitality of the people I meet along the way their rich history and culture and the wonderful places where they live. It seems entirely natural to me that I would want to tell stories about their daily lives.’

brought to you by

Showcase your talent behind the lens at the inaugural New Zealand Amateur Photography Awards (NZAPA) in 2024

Elevate your skills, get inspired and be in to win some fabulous prizes thanks to our friends at Photo Warehouse

Entries open: 15 April 2024

For all the details head to:

irisawards.com/nzapa

image Chris Helliwell

FIAP News

By Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP FIAP Liaison Officer

30th Colour Biennial, Greece, 2023

It has been a long wait for members who participated in this free FIAP event. FIAP holds a Biennial every year, alternating between colour PI one year and B&W prints the following year. The Biennial is a competition between all the countries that make up FIAP (International Federation of Photographic Art). 2023 asked for a colour PI set of 20 images. So early in 2023 we invited members to submit images to be considered for selection in the NZ entry. Forty countries entered and New Zealand was placed 30th. It isn’t the placing we hoped for but we have had years where we were in the top 12, so maybe next year...

How does FIAP score each submitted set?

Each image is scored in its own right, and then the set is assembled and given a score for coherence. The 21 scores are then added together to give the final score for the country. You can go to FIAP and view the other countries’ entries at https:// www.fiap.net/en/biennials. In addition to that, each individual score over 8 is eligible for an acceptance when applying for FIAP distinctions.

PSNZ also recognises the top three individuals’ scores. You will see that there is often more than one person with the same score. Here is the list of authors in order of the images and rows.

Markham Mail Above Taranaki 1 Row 1

Sarah Caldwell Milford Sound Morning Cloud 3

Yan Yuan Lake Heron Reflection 1

Rob Weir Southern Alps Sunset 3

John Boyd The Quiet After

Chris Watson Fiordland Storm Row 2

Lindsay Muirhead Morning Mist, Lake Mapourika 2

John Boyd Miners' Legacy

Karl Tretheway Waitanguru Falls

Karl Tretheway Hot Waterfall 3

Bevan Tulett Mid-Winter Tranquillity 2 Row 3

Ron McKie First Light 2

Mark Burgess Rolling Hills

Georgie McKie Taiko 2

Meg Lipscombe Humphries Bay, Lake Tarawera

Jay Drew Washed Up Row 4

Lorraine Gibb South Beach, Timaru 3

Graham Dainty Horse Rock, Fiordland 2

Jan Macpherson Moeraki Boulders 3

Lorraine Gibb Wharariki Beach 3

FIAP Requirements for Print Acceptances

As previously explained, we are back to using the rules as laid out in Document 11/2016 E, the one we have been using for the last six or seven years. FIAP hopes to bring out new regulations for 2025 when there will likely be an increase in numbers required in some levels.

So, what does this mean?

From 1 January 2024 the requirements as set out in document 11/2016 E will apply in full, including requirement for print acceptances for the AFIAP and EFIAP levels. Fees will be back to the full amount (€70).

If you intend to apply for AFIAP or EFIAP in 2024 or beyond, you should be entering some print sections in salons now, in order to meet the requirement for next year as set out in Doc 011/2016.

AFIAP requires four print acceptances and EFIAP requires 12 print acceptances.

Continue to work towards producing new photographic works and seeking to gain at least five acceptances with each of these. This is because it is very likely that the new regulations in 2025 will be requiring a Title to have no more than five acceptances before you can no longer use it. FIAP are looking for ways to encourage new work.

As always, if you want to know any more about FIAP distinctions and how to go about applying for them, contact me, Ann Bastion, at ajbastion@gmail.com.

The Challenges of Selecting a Coherent Set

Having helped with selections both here and internationally, I would like to explain a little about how it works.

There is a big difference between forming a set for yourself (where you have control over creating the images) and forming a set from other people’s work. When creating a set for yourself, you have a concept and take your photos accordingly. You have control over the subject, lighting, lens, colour weight, etc. When forming a set from other people’s work, you have lots of great images, all worthy of selection, but also a lot of different styles, lighting etc - and they do not always sit together harmoniously.

For the FIAP Biennials there is a theme that is decided upon before the call for submissions. Within this theme we are looking for a progressive flow of story that needs to be considered. This year we had the theme of Mountains to the Sea. We started with mountains, then to lakes, and finally to the sea.

There are 20 images to the set and although, as Projected Images, they are judged in a line, they are also presented to the judges in four rows of five. This way the judges can see the coherence of the set as a whole and whether it relates to its title. This is why it is important to ensure continuity and flow from one image to the next.

There might have been 60 great images of mountains but we could only select five (for that top row) that sat well together in impact, colour, weight and flow.

So, you can see that just because your image was not chosen, it doesn’t mean it wasn’t good enough. It was just that it didn’t fit in the row for some reason. Perhaps it had completely different lighting, or the overall colour was different to the rest.

Selectors for all competitions and NZ Camera appreciate that you offer your images to be considered. Without them there would be no competitions or challenges.

FIAP Congress

This year’s FIAP Congress will be held in Deli, India, from 1 to 7 November. Anyone who has a FIAP membership card is eligible to attend. If you are interested, please let me know and I can keep you updated of any changes or information relating to this.

The latest FIAP News online magazine is now out and you can access it (and previous issues) at https://www.fiap.net/en/fiap-news.

In May, I will be calling for members wishing to apply for FIAP honours this year to register their intent with me. Although the applications are not sent until 1 September, I need to know who intends to apply so that I can keep contact and check their draft worksheets. This also helps me to pick up any mistakes early.

The final application can’t be sent until I have checked off all the salons listed in the dossier against the FIAP database of salon results.

Each salon is required to send its results to FIAP within 14 days from the final judging. FIAP then needs to enter these results into its database so we, as Liaison officers, can check each application against it. So, with that in mind, do not rely on any results from a salon that closes a week or two before September because FIAP will not count them if they are not listed on its database, despite you having the results.

Please note: In recent years (because of postal issues relating to Covid) FIAP has removed the need for “prints” and the existing FIAP Distinctions Regulations document 011/2016, which is the regulation we have used in recent years, will apply in full. This means the requirement for print acceptances, included in AFIAP and EFIAP applications, resumed in January this year.

36th FIAP WORLD CONGRESS

HOST FIP INDIA

JAIPUR, PUSKAR, AGRA & DELHI

1st November to 7th November 2024

Registration Fee 1450.00 Euro for single occupancy, 1250.00 Euro for double occupancy per person from Jaipur to Delhi. The registration includes your delegate kit, all meals, rooms with 5 star facility, all travel and entrance to all the designated monuments and 3 gala dinners. Doesn’t include alcoholic beverages except on 3 gala nights and your personal laundry and medical expenses.

Early bird discount of 5% ends on 15th of May 2024, Group discount (Minimum 10 pax) of 5% ends on 31st of May 2024

TRAVEL PERIOD

(Group-A)

(Group-B)

HOTEL CATEGORY

DURATION

From 1st November – 04th November 2024

From 5th November – 6th November 2024

From 7th Nov

Welcome Gala Dinner

FIAP Award Night Gala Dinner

Farewell Gala Dinner

1st to 7th NOVEMBER 2024

FIAP Ofcial Delegates (FIAP DB members & respective country liaison ofcers

All other delegates

05 Star

07 Nights / 08 Days

Jaipur (04 Night) includes a day trip to Puskar on 3rd November 2024.

Agra (02 Night)

Delhi (01 Night )

On 2nd November (Saturday) (Jaipur)

On 4th November (Monday) (Jaipur)

On 6th November (Wednesday) (Agra)

HOTEL DETAILS

Nature Photography

With Toya Heatley FPSNZ AFIAP

This is the first of what I hope will be a regular column where I get to share my nature photography with you all. As photographers we all enjoy playing with our cameras, always trying to better our previous attempts. While we have so much in common, we all look at the world through different eyes, see different things and create very different images. This column will focus entirely on how I see the world and how I create my images.

I chose nature photography because I find it challenging, yet I can achieve success without too much physical effort. It often requires sitting for long periods of time in the bush or at the beach, wherever my chosen subjects are to be found. It is entirely possible to walk through a bush full of birds and not see a single bird. However, if you stop, sit, and wait, the birds will often show themselves.

The same can be said for not even going out to look for photo opportunities. A lot of my nature photos are created while sitting at my dining room table. The garden outside my window always provides me with subjects to photograph. This will be the focus of this issue’s column.

Birds are of course my primary focus, but they don’t always present themselves when and where I am prepared to photograph them. So it is at those times that I look for alternatives. Bumblebees and honeybees are everywhere and make excellent subjects. My current challenge is to photograph them on as many different flowers as I can.

Tui on Red Hot Poker

Bumblebee on Japanese Anemone

While looking for the bees I have found many other critters in my garden. The monarch caterpillars on some self-seeded swan plants were a real treat, especially when the caterpillar started looking around for somewhere to hang from to form its chrysalis. It looked like a dancer the way it shifted from side to side, reaching high. It went walkabout that night, never to be seen again.

Where there are caterpillars, there are often butterflies. The monarch butterflies were flitting about in the garden, teasing me by never stayed still long enough. Finally, I managed to capture an image of one on a dahlia flower.

The dahlias are just about finished now, but the Japanese anemones are just coming into bloom, which brings me back to the bumblebees. These flowers are right outside my dining room window, so with a quick clean, the window becomes invisible, and I can sit at the table and photograph the bumblebees as they fly about the flowers. Most of my friends who are photographers know to bring their cameras with them when they visit. There is always something to photograph, no matter what time of year it is.

All these images were created using my Lumix G9II and my Leica DG 100-400 lens, more often than not, at full extension. You can see more of my work at https://toyaheatley.nz

Monarch on Dahlia

Caterpillar on Swan Plant

Special feature - Conceptual Portraiture

In this issue we return to having special features focusing on an aspect of photography. Our first is on Conceptual Portraiture. For this feature Shelley Harvey BPSA has presented both images and how she created them.

The Angel by Paul Whitham APSNZ

What is Conceptual Portraiture?

In the vast realm of photography, there exists a genre that transcends mere depiction and ventures into the realm of imagination and symbolism. Conceptual portraiture, as the name suggests, goes beyond capturing a person’s likeness; it delves deep into the psyche of both the subject and the artist, weaving narratives, emotions, and ideas into a single frame. It is an art form in which creativity knows no bounds, in which the photographer becomes a storyteller, and the subject a character in a visual tale.

At its core, conceptual portraiture is about conveying concepts, themes, or stories through the medium of portrait photography. It involves meticulous planning, thoughtful composition and, often, a touch of surrealism or symbolism to evoke a specific mood or to provoke thought in the viewer. Unlike traditional portraiture, which aims to represent individuals in a straightforward manner, conceptual portraiture invites interpretation and invites the viewer to delve deeper into the layers of meaning embedded within the image.

One of the defining characteristics of conceptual portraiture is its emphasis on collaboration between the photographer and the subject. While the photographer serves as the visionary behind the lens, it is the subject who brings the concept to life through expression, gesture and presence. Together, they work to create a visual narrative that resonates with the audience on an emotional or intellectual level.

Conceptual portraiture draws inspiration from various sources, including literature, mythology, psychology and personal experiences. It is a reflection of the human condition, exploring themes such as identity, love, loss, dreams and fears. Through symbolism, metaphor and allegory, photographers infuse their images with layers of meaning, inviting viewers to interpret the narrative in their own unique way.

Technically, conceptual portraiture often involves meticulous planning and execution. From selecting the right location and props to coordinating wardrobe and makeup, every aspect of the image contributes to the overall concept. Lighting plays a crucial role in setting the mood and atmosphere, while postprocessing techniques may be employed to enhance the surreal or fantastical elements of the image.

In recent years, conceptual portraiture has gained popularity among photographers and art enthusiasts alike, thanks in part to the accessibility of digital photography and editing tools. Social media platforms have provided a means for artists to showcase their work and connect with a global audience, fostering a vibrant community of “creatives” pushing the boundaries of the genre.

What do you need for conceptual portraiture?

Embarking on a journey into the realm of conceptual portraiture requires more than just a camera and a subject. It demands a blend of creativity, technical skill and a vision to bring ideas to life. Here’s a comprehensive guide to what you need for conceptual portraiture.

1. Vision and Concept

Before picking up your camera, it’s essential to have a clear vision of the concept or story you want to convey through your portrait. This could be inspired by emotions, experiences, literature, mythology, or any other source of inspiration.

Develop a concept that is compelling, thoughtprovoking, and open to interpretation. Think about the mood, symbolism, and the narrative you want to communicate.

4. Lighting

Lighting plays a crucial role in setting the mood and atmosphere of your portraits. Experiment with natural light, artificial lighting and modifiers to create the desired effects.

Understand the principles of lighting, including direction, intensity and quality, to enhance the visual impact of your portraits.

5. Composition and Framing

2. Planning and Preparation

Conceptual portraiture often requires meticulous planning and preparation. Consider factors such as location, props, wardrobe, makeup and lighting that will help bring your concept to life.

Create a mood board or storyboard to visualise your ideas and communicate them effectively to your team or subjects.

3. Camera Gear

While the gear doesn’t make the artist, having the right equipment can certainly enhance the quality of your work. Invest in a quality camera body and lenses that suit your style and budget.

Consider additional equipment such as tripods, reflectors and external lighting sources to help you achieve the desired look and feel for your portraits.

Pay attention to composition and framing to create visually engaging portraits. Experiment with different angles, perspectives and focal lengths to convey your concept effectively.

Use elements such as leading lines, symmetry and negative space to draw the viewer’s eye to the focal point of your portrait.

6. Collaboration and Communication

Conceptual portraiture often involves collaboration between the photographer, subjects and any other creative collaborators involved in the process.

Communicate your vision and concept clearly to everyone involved and encourage open dialogue and feedback throughout the creative process.

Continued on Page 31

Embrace

Working in harmony with my model’s natural colouring, using a simple piece of chocolate brown tulle, draped over her head and around her body, I have framed my subject within the frame. A simple black background and utilising the natural light coming in through a side window, this was a very simple set up.

Evoking emotion is imperative in creating captivating portraits which are open to interpretation by the individual viewer. I got lucky with Embrace. It was taken on one of my workshops, moments after my model had been slightly offended by a participant's comment. It resulted in a pose showing natural, guarded body language and emotive facial expression. The image was post-processed in Photoshop and Nik Filters Color Efex and Silver Efex with the black and white layer opacity reduced to 50% to reduce the harshness of full colour and deepen the blacks in the image.

My Mask and I

I really enjoy adding items out of context to an image, in this case the gas mask. This triggers the viewer’s brain who then starts to question, ‘Why?’

My Mask and I was shot from outside while the model sat behind the window in a steamed-up bathroom. The static pose of the model and condensation on the window create texture and depth to the image, helping evoke emotion. The image was processed in Photoshop, using Nik Filters Color Efex Detail Extraction tool to enhance the textures on the window, Darken Lighten Centre tool to pull the subject away from the background and Nik Silver Efex for the black and white conversion.

Shelley Harvey BPSA

Shelley Harvey BPSA

Orchid Dreaming

By covering the face in conceptual portraiture, you remove or diffuse the direct eye contact with the subject, making it less confrontational for the viewer and, in my opinion, becomes more appealing to buyers as a fine art piece. By “seeing” your model and taking inspiration from props, ideas develop. Here I have used a white piece of net florist wrap to cover the head, and the colour palette arose from the orchids.

My model was Asian so I was drawn to using a very pale Geisha style makeup. The circle on the eye taking its tones from the orchids helps add context. The image was process in Photoshop and Nik Filters Color Efex, Analogue Efex and Silver Efex, again reducing the opacity of the Silver Efex layer to 50%.

Melting Moments

Perspex and maple syrup — a great way to incorporate texture and distortion in-camera! The perspex screen is placed in front of the model and maple syrup poured down the outside, creating depth within the image and obscuring the model to create a sense of mystery. This image took a lot of painstaking adjustment, layers and paint work in Photoshop to bring out the rich caramel hues in the syrup. All post-processing in Photoshop, using Nik Filters Color Efex, Analogue Efex and Silver Efex.

Shelley Harvey BPSA

Shelley Harvey BPSA

Continued from Page 28

7. Post-Processing Skills

Post-processing is an integral part of conceptual portraiture, allowing you to finetune your images and enhance their impact.

Develop your skills in software such as Adobe Photoshop or Lightroom to manipulate colours, textures and other elements to bring your vision to life.

8. Patience and Persistence

Creating compelling conceptual portraits takes time, patience and persistence. Don’t be discouraged by setbacks or challenges along the way.

Stay committed to your vision and be willing to experiment, iterate and refine your ideas until you achieve the desired result.

In summary, conceptual portraiture is a creative endeavour that requires a combination of artistic vision, technical skill and collaborative effort. With the right tools, preparation and dedication, you can bring your ideas to life and create portraits that captivate and inspire viewers.

Smoke Signals

More often than not, the desired finished image does not appear to me until I am part way through the post-processing stage. This is definitely the case with Smoke Rings. Drawing inspiration from fashion house Alexander McQueen, I had been playing around with a black swimming cap on my model and had put her into a dark, grungy makeup look. This setup is taken with my model sitting on the end of the bath, against a plain wall with strong natural light coming through a window. The black swim cap, style of makeup, disproportion and lack of focus begins to create questions for the viewer of the image.

I had my model “chuffing” away on her vape to create some atmospheric smoke when she proceeded to blow smoke rings. The smoke rings in the image are what I captured in-camera. A texture has been added to the wall behind in post and I have used Liquify in Photoshop to purposely alter the proportion of her head and shoulders, the shape of her face, and elongation of her neck. Blurring my subject creates a more artistic, less confronting representation of what was actually before me. Post-processing was completed in Photoshop using Nik Filters Color Efex, Analogue Efex and Silver Efex. A wet plate preset from Nik Analogue has been used on this image to give an aged, more textured finish.

Shelley Harvey BPSA

Wahine Toa

A merging of cultures. Wahine Toa celebrates my subject’s Scottish and Mãori ancestry but is also a dig at the impact European colonisation had on Mãori. A Mãori woman with a traditional moko kauae as my subject was vital to achieve my vision. Each item within the image has been selected to portray a part of her past and present. The bowler hat – European influence, the white lace neck ruff – European influence, the tui feather korowai – Mãori influence, the fern earring – Mãori influence, the blue on her face – Scottish influence (Braveheart). The blue on her face was added in post-processing, along with the background textures and the fern earring. All post-processing in Photoshop and Nik Filters. A total of 61 varying adjustment layers and filters were applied in this image.

Shelley Harvey BPSA

PSNZ Membership Benefits

• Expert advice to help improve your photography.

• The opportunity to achieve a higher Society distinction (LPSNZ, APSNZ, FPSNZ).

• New Zealand members receive a complimentary copy of New Zealand Camera, and the ability to submit your images for selection in this annual publication.

• Access to member only resources, including a member only PSNZ Facebook page for social chat and updates with other members.

• The opportunity to enter the Canon Online Competition, with trophies for each round and for the overall winner each year.

• Discounts for Society activities, such as the annual PSNZ National Convention, special workshops, international competitions and much more.

• The opportunity to participate in regional meetings and events, including the PSNZ Workshop Series.

• A copy of our bimonthly magazine – CameraTalk, with news, reviews, events and some of the best photography around.

• The opportunity to exhibit your work in exhibitions such as the PSNZ Sony National Exhibition, Regional Salons and other member only online competitions.

• Access to judge training workshops at a reduced rate for PSNZ members.

• Ability to promote your website on our website.

• Receive regular blog posts to stay informed of the latest news on events, activities and special offers.

• Product discounts and savings when offered by our corporate partners and associated companies.

• Discounts for major NZIPP events as a PSNZ member.

• Ability to join a PSNZ Print Circle.

The Gallaghers

Sadly, sometimes the moment we capture is not always sharply in focus, and in portraiture we usually look for sharpness in the eyes. The Gallaghers image claimed its name from the tv series Shameless, as my model exudes Fiona Gallagher, from the series, vibes.

By converting to black and white and adding a heavy grain to the image in post-processing, the lack of focus no longer becomes an issue but instead enhances the dynamics within the image, almost taking us back in time. The image was processed in Photoshop, with the black and white conversion done using Nik Filters Silver Efex.

Working with Models

Working with photographic models involves more than just technical skills; it requires effective communication, creativity and professionalism. Whether you’re a photographer or involved in managing a photoshoot, here are some tips for working with photographic models.

1. Effective Communication

Clearly communicate your vision for the shoot, including the mood, style, and specific poses or expressions you’re looking for. Be open to the model’s input and ideas.

2. Build a Rapport

Establish a friendly and comfortable environment. Building rapport helps the model feel more relaxed and confident, which often translates into better and more natural-looking photos.

3. Provide Direction

Guide the model with clear and concise directions. Be specific about the poses, expressions and body language you’re aiming for. Use visual examples or demonstrations when needed.

4. Encourage Expression and Emotion

Encourage models to convey emotions through their expressions and body language. This adds depth and authenticity to the photos. Create a mood board or share reference images to convey the desired emotions.

5. Posing Techniques

Learn and practise a variety of posing techniques. Understand how different body angles and positions can enhance or change the mood of a photo. Be mindful of the model’s comfort and adjust poses accordingly.

6. Be Adaptable

Be prepared to adapt your plans based on the model’s strengths and comfort level. Flexibility is key to capturing spontaneous and genuine moments during a photo shoot.

Shelley Harvey BPSA

7. Respect and Professionalism

Treat models with respect and professionalism. Establish boundaries and ensure that the working environment is safe and comfortable. Always ask for consent before trying more experimental or intimate poses.

8. Wardrobe and Styling

Collaborate on wardrobe choices and styling to ensure that the overall look aligns with the shoot’s theme. Discuss any specific clothing requirements in advance.

9. Lighting Considerations

Understand how lighting can affect the overall mood of the photos. Experiment with different lighting setups to achieve the desired atmosphere, whether it’s soft and diffused or dramatic and contrasty.

10. Continuous Feedback

Provide feedback throughout the shoot. Positive reinforcement helps boost the model’s confidence, while constructive feedback allows for adjustments to improve the overall outcome.

11. Capture Candid Moments

Some of the best shots come from capturing candid moments. Encourage natural movements and interactions between poses to add authenticity to the photos.

12. Prepare in Advance Plan the logistics of the shoot in advance, including location, timing and any necessary permits or permissions. Being well-prepared minimises disruptions and ensures a smoother workflow.

13. Review and Collaborate

If possible, review images together during the shoot. This allows both you and the model to identify successful poses and make adjustments as needed. Remember, a successful photo-shoot is often a collaborative effort between the photographer and the model. Creating a positive and creative atmosphere contributes to memorable and impactful images.

Tangata Whenua

Portraiture need not be an image of the entire face, but by just capturing a portion of it can portray the subject’s identity. In Tangata Whenua my model’s moko kauae symbolises her journey of healing, reflection, empowerment and identity.

Post-processed in Photoshop using varying techniques to perfect the texture of her skin and bring out the rawness in her lips. Nik Filters Color Efex and Silver Efex were used to finish the image.

Shelley Harvey BPSA

Finding models

Finding photographic models can be achieved through various channels, depending on your needs, budget, and the scope of your project. Here are some common ways to find models for your photography work.

1. Friends and Family

The odds are that your first models may come from your own friends and family. However, don’t just think of them. Inform your friends and family that you’re looking for models. They might know someone interested in modelling or have friends who fit the criteria you’re seeking.

2. Social Media

Utilise social media platforms such as Instagram, Facebook and Twitter. Many models, both professional and aspiring, showcase their work on these platforms. There are specific groups on Facebook, set up to enable models and photographers to come together to discuss potential collaborations.

Remember, though, that you need to have a good selection of your images on the site to show the work you can do.

3. University/College Campuses

Reach out to local universities or art schools with suitable art or fashion programmes. Many students are eager to collaborate on creative projects, and campuses can be a great source for finding models.

4. Local Art Groups

Local art groups may have lists of models that they use for their own classes, and they may be willing to share. Local theatre groups are also a great source of talent, especially when you need a subject that can express certain emotions. Actors often need headshots, so you may be able to arrange a trade.

5. Networking Events

Attend local networking events, fashion shows, and photography meet-ups. These gatherings provide opportunities to meet models and establish connections. Again, Facebook is a great tool to determine if such events are happening in your area.

6. Modelling Agencies

If you live in a larger centre there may be local or online modelling agencies that you can contact. They have a roster of models with diverse looks and experience levels. Keep in mind that professional models from agencies may come with fees. However, if you are new to working with models, paying for an experienced model can make the experience considerable better.

When working with models, it’s important to be clear about your expectations, the scope of the project, and any compensation involved. Ensure that both parties agree on these terms before proceeding with the photoshoot. Always prioritise professionalism and clear communication to establish a positive working relationship.

I Feel Like a Girl in a Bubble

By Karen Moffatt-McLeod APSNZ BPSA

Photographed on 25 January 2004, using a Canon EOS R8 with 50 mm prime lens. F2, ISO 800, 1/128 sec.

This image was shot inside in the late afternoon with light coming from a window.

It took some fine-tuning to position the model so that there was light on the side of her face, but not so much that the window reflection covered her face. There was one small bright spot of reflection next to her ear that I removed due to the distraction it caused.

The concept of the “bubble” is one I have been wanting to shoot for some time (as part of a series), but had struggled to find a round glass fish bowl or vase with an opening large enough for a person’s head.

I finally located one, and asked a young model I use frequently if she would do the shoot. I explained to her mother what I wanted to do to ensure that she was happy as well as the model.

As the space inside the bubble is very confined, my model often put her hand to the glass to lift the front a little to get more air inside and stop the glass from fogging up. Initially I had thought of using one of the images without her hand in the shot, but I liked the positioning of her fingers on the diagonal from the window reflection.

The “bubble” relates to many things for me. When I was a competitive archer, I used to put myself in a visualised bubble to shut out distractions. I also love the sphere shape and how it bends light. “Bubbles” of course featured in our lives throughout 2020 and 2021 as well as harping back to a favourite movie, “The Boy in the Plastic Bubble”.

Along the movie inspiration track, I am a fan of Dune, and have been eagerly awaiting Dune 2, so have been on a bit of a “sci fi” bent. I take a lot of inspiration from cinemaphotography;

A guest contribution from Paul Byrne FPSNZ ARPS AFIAP

Will Generative AI become a death knell to photographic competition?

Artificial Intelligence [AI] has been around for many years. Whilst aspects of its usage have brought about improvements with regard to the general wellbeing of society, all that glitters is not gold.

The introduction of Generative AI [GAI] into photographic processes is a retrograde step in the competitive “art” of photography, to which so many of us aspire. This is already apparent in some competitions, salons and professional workspaces. Photographers who have concealed their use of AI manipulation have been severely punished.

As I see it, there are three issues.

• The use of GAI can be difficult to detect. As the technology grows, it will surely improve beyond human recognition. Unless, and until, there is a simple technological method of detecting the use of GAI within an image, fraudulent behaviour will become normalised practice in competitions if not effectively policed.

• Isn’t GAI a form of plagiarism? Just as universities are struggling to police student examinations, how will assessors be able to judge the authenticity of photographic artwork?

• This is a worldwide issue which is almost beyond the scope of national entities such as PSNZ to tackle in isolation. Several photographic institutions around the globe have introduced policies which clearly identify the problem, stating that GAI will not be tolerated within their competitions and salons. We should join with these institutions to challenge this attack on computer-driven interventions which harm intrinsic human skills used in the art of photography.

Computers are not conscience organisms, nor can they be programmed to reflect human morality. Many researchers believe such ideologies are unachievable due to the vast level of complexities involved. The uncontrolled use of photographic GAI will irrevocably harm the bedrock of human artistry and purity of vision.

Nelson National Triptych Salon 2024

It’s time to plan your triptych entries for this year’s event. Whether you are an old hand at triptychs or a newcomer to the format, this salon offers rewarding challenges to the creative photographer with an eye for the “out of the ordinary” and “beyond the square”.

Entries must be made up of three separate images depicted together on a common background. A successful triptych will communicate a stronger message or simply provide greater impact than a single image of the same subject matter.

Planning for this year’s salon is under way with the event opening for entries on 1 July and closing on 31 July 2024.

The creator of the champion entry will receive a unique Nelson National Triptych Trophy which will be theirs to keep.

The three Special Awards for this year are:

Best Sport

Sports come in a vast variety of forms. Depict your favourite(s). Anything from the local primary school sports day to the All Blacks in winning mode. Solo athletes or team events the choice is yours.

Best “Morning, Noon and Night”

We all experience these times and the changes between them. The light changes, activities change, moods change. What’s your take on the title?

Best Monochrome

With either just one or no colour, your entry needs to be very strong in other aspects to capture and hold the viewer’s attention.

This salon has just a few, but very specific, rules so please visit the Nelson National Triptych website and read those rules before creating your triptych masterpiece.

For more information please visit https:// www.nelsoncameraclub.co.nz/introducingtriptych.html

Rest in Peace, Dear Planet by Caroline Foster LPSNZ

NZ Landscape Salon - Updates for 2024

By Ian Walls FPSNZ President, Christchurch Photographic Society

The Laurie Thomas Landscape Salon boasts a rich legacy, spanning 27 years of success. However, in the spirit of growth and evolution, it’s time for a refresh.

While the name Laurie Thomas Salon holds immediate recognition among PSNZ members, it may not resonate as strongly with other passionate New Zealand landscape photographers. So, the Salon’s organisers, the Christchurch Photographic Society, have decided to re-launch the salon, instituting changes over the next two years.

The first step is a name change. The competition will now be known as the New Zealand Landscape Salon and the premium award will remain the Laurie Thomas Trophy.

As tradition dictates, the winner shall be awarded, and will keep, the distinctive sculptural trophy.

The A5 printed catalogue which every participant has previously received has started to look a little dated. Consequently, we will now offer a high-quality printed book which will be available to purchase, separate from the entry fee. The decision to forgo the printed brochure has enabled a significant reduction in the entry fee. Entrants will now pay only $28 and can still enter up to four photographs. Please note that once logged in to the entry platform at nzlandscape.photo, your entry fee will need to be paid via PayPal prior to uploading entries.

The judging teams, comprising assessors from either the North and South Island, alternate annually. This year’s team will be from the North and will be led by Annette Johnston FPSNZ. Further details will be available when the website opens for entries.

The directive to the judging panel underscores a desire to honour photography that encapsulates an authentic sense of place. While we are open to a creative approach to this goal, we would like to encourage pure photography skills.

So, if your camera has accompanied you in your adventures in Aotearoa, please join us in a celebration of our wonderful landscape by participating in this year’s edition of the New Zealand Landscape Salon.

Key Dates and information

Open: Wednesday, 1 May 2024

Close: Sunday, 2 June 2024

Presentation: 7:30 pm Wednesday, 7 August 2024 at CPS

Convening Judge: Annette Johnston FPSNZ

Entry Fee: NZ$28.00 for up to four images

Entry website: nzlandscapesalon.photo

Gold Medal Winner: Oreti, Roger Wandless FPSNZ GM.NZIPP

Silver Medal Winner: Frost, Loch Cameron, Mike White APSNZ

Silver Medal Winner: Highest Country Confluence, Roger Wandless FPSNZ GM.NZIPP

Capturing the Southern Lights

By Mike White APSNZ

In this continuing series about astrophotography, Mike White outlines some important tips for those keen to capture their first images of the elusive Aurora Australis, otherwise known as the Southern Lights. Though many of these tips would also apply to Northern Lights chasers, the emphasis in this article is firmly on their lesser-known southern counterpart. And remember, seeing and photographing the lights is as much an art as it is science!

A few things should be understood from the start.

• They’re rare. You won’t see aurora on most nights.

• They can be brief. Some displays only last for a matter of minutes. Rarely will you see an all-night display.

• They form near the polar regions. The further south you are, the better your chances.

• Most aurora are too faint to see well with the naked eye from New Zealand. These are referred to as in-camera only and will be very low on the horizon.

• Seeing and photographing aurora requires skill, patience, practice and… patience!

What are the Southern Lights?

The Aurora Australis (Southern Lights) and Aurora Borealis (Northern Lights) are natural light displays and are a type of space weather. Particles of plasma, ejected from our Sun during solar storms, are funnelled along Earth’s magnetic field lines towards the polar regions. When these particles collide with gases in our upper atmosphere, they become excited and emit light, causing an aurora. The typical green colour is associated with oxygen molecules at altitudes of 100-300 km. During stronger storms, collisions with oxygen atoms at altitudes of 300-400 km can cause red aurora. Occasionally the lower fringes of an aurora will have a pink or deep red fringe. This colour is caused by collisions with nitrogen molecules at an altitude of around 100 km.

Aurorae typically occur at high latitudes and, given that most of the southern hemisphere is covered by oceans, there are very few southern landmasses from which we can observe them. Fortunately, New Zealand is one of those rare places.

The usual events behind a solar storm are Coronal Mass Ejections (CME), filament eruptions and Coronal Hole High Speed Streams (CHHSS). All of these events allow fast-moving streams of dense plasma material to be launched from the Sun into space. This additional material enhances the ever-present Solar Wind which could trigger a geomagnetic storm and lead to aurorae here on Earth.

Solar flares can sometimes be accompanied by a CME which then gives a chance of future aurora activity also.

Aurora Overhead, Southland (December 2023)

Les Ladbrook 20 mm, f/2, 2s, ISO 6400

When’s the best time to see an aurora?

Solar storms typically occur more frequently during a period known as Solar Maximum or Solar Max, which occurs on an approximately 11 to 12 year cycle, and it just so happens that scientists forecast we are about to enter the peak period (over the next 12 to 18 months) of Solar Max for this current cycle. As the sun becomes more active, complex sunspots form in greater numbers, increasing the chance of a storm. If Earth is in the firing zone during a storm event, then chances for an aurora improve.

Statistically, the best months for aurora are March and September, around the equinoxes, which is good news for us as we head into longer winter nights.

Aurora displays are often strongest around local midnight; however they can be seen anytime during the hours of darkness. They can even be observed during twilight, so make sure you’re on location nice and early, and be prepared to stick it out, to be in with the best chance of seeing the aurora in action. Displays can last all night or be over in a matter of minutes.

Just like our daily weather forecasts though, predictions can sometimes be wrong, and a forecast display might be delayed, or possibly not even eventuate. So, there’s no better time than now to tick an aurora chase off your bucket list. Fair warning, it’s an addictive pastime!

How do I know if an aurora might be possible?

Like any photographic subject, the more time you spend studying it, the greater your chances of capturing that image of a lifetime. As a general rule, we have two to three days between a solar storm launching a cloud of plasma into space until it arrives here on Earth. Space weather forecasters issue a KP forecast that estimates the average global level of activity for the next three days. A KP forecast of 5 or greater indicates a possible storm level event which increases the chances to see aurora. However, aurora can still occur during times of low KP levels. Forecasts that make predictions outside this 2 to 3 day window are very general and can’t be relied upon.

Aurora over the Pacific (December 2023) Muriwai o Whata, Canterbury Panorama: 15 mm, f/2.8, 4s, ISO 6400

As the solar wind approaches Earth, there are a number of satellites that measure its characteristics. This gives a usual lead time of anywhere from 45 to 90 minutes before that solar wind arrives at Earth – the faster the solar wind speed, the shorter the lead time. These readouts are widely available on various space weather websites and apps. A good knowledge of the key figures will quickly improve your chances of capturing the lights.

Wind Speed - Above 400-500 km/s

Density - Above 10 p/cm³

BT - Strength of the Interplanetary Magnetic Field (IMF) greater than 10nT

BZ - North-South direction of the IMF indicates South (negative number reported)

The most important of these numbers is the BZ value. When the magnetic field of the incoming solar wind is oriented south, it can connect to Earth’s magnetic field lines much more easily. When the BZ value is close to the BT value, and is shown as a negative number, it means the field is strongly oriented to the south. This allows the solar wind to pour in and fuel the aurora with plasma particles.

The above example numbers can be considered as highly favourable numbers and would have most aurora-chasers sacrificing sleep in the pursuit of the lights. Good aurora displays can and do occur with lower numbers than these though.

What will I see?

For first time, naked-eye, observer of the Southern Lights, prepare to be… well, a little underwhelmed to be honest! More often than not, the Southern Lights typically appear as a pale, milky arc above the southern horizon when viewed by the naked eye. On occasion, you might see tall rays expanding upwards into the night sky and drifting slowly – reminiscent of a war-time searchlight. If you’re very lucky, you might just detect a faint hint of colour –perhaps a subtle green at the lower levels of the display.

Occasionally we’re treated to a much more energetic display – the incoming solar wind might be particularly fast, dense, and very well-aligned to our magnetic field. The results can be much more impressive to the naked eye, with these particular events (known as sub-storms) leading to more rays, observation of the arc breaking up into bundles of rays,

Naked Eye Approximation of Aurora (December 2023)

Muriwai o Whata, Canterbury

Note the Southern Cross and Pointers for scale. Single frame: 29 mm, f/2.8, 4s, ISO 6400

curtains, and a greater chance of observing colour (including seeing faint pink/red hues at the higher levels) and detail, and of course, something you don’t see in a photograph, the movement of the aurora across the night sky.

Yet when we turn our cameras towards the Southern Lights, the resulting images can be just absolutely incredible, and you’ve no doubt already seen some of these on social media or other publications. Images feature vibrant colour and sharp detail that the naked eye just isn’t able to see. There are several reasons for this.

Firstly, human night vision is not well adapted for detecting colour. The light receptors in our eyes are made up of cones that detect colour and detail in bright light conditions and are therefore most active during the day. At night, rods are activated that function at low light levels to detect faint light, but they only “see” in monochrome or shades of grey.

A typical display of the Aurora Australis isn’t bright enough to trigger the cones in our visual system. The modern camera sensor is

unencumbered by these limitations and is thus able to record a broader range of colour and detail with a long exposure. As long as you begin your aurora chase with a clear understanding of the difference between naked eye and camera capabilities, then you can enjoy yourself and know that you have two very different ways of enjoying nature’s spectacular light show.

Distance also plays a huge part in determining what the naked eye will see. When you see a map of a typical auroral oval overlaid on the Earth’s northern hemisphere, there are a lot of land areas that fall directly under this oval. Anywhere in the northern hemisphere where there’s a town or city, people can travel a short distance to dark skies, look up, and see the Aurora Borealis overhead, even at relatively low levels of activity.

New Zealand’s position in the mid-southern latitudes means that even when the aurora is active, we are still hundreds and hundreds of miles away from the action, with the typical auroral oval lying over the Southern Ocean. During stronger storms though, this oval

Colours of the Aurora (April 2023) Lake Heron, Canterbury 15 mm, f/2.8, 10s, ISO 6400

expands northwards, and we experience a brighter view of the Southern Lights. Those living in the southern reaches of the country such as Stewart Island and Southland have on at least a couple of occasions over the past ten years, experienced a rare display of aurora dancing in the skies overhead.

But travel back a couple of decades or more, and you’ll find those in more northern parts of the country, including the North Island, who can recall similar views and naked eye colour during great solar storms of the time. The Carrington Event of 1859 produced the most intense geomagnetic storm in recorded history – strong auroral displays were reported globally and the storm caused sparking and even fires at multiple telegraph stations.

Back to modern times though; our side-on view does afford some advantages in that we can capture the fainter colours and structures of the upper reaches of the aurora. These are often lost to northern hemisphere viewers who see a much stronger display of greens in the lower levels of auroral activity. Typical levels of auroral activity can be photographed from most South Island locations south of Christchurch – provided a clear view of the southern horizon is available. Photographers in the lower North Island regularly photograph the upper levels of the aurora but see very little activity with the naked eye. Rarely are aurora seen or photographed in the upper North Island.

As with any observation of faint objects in the night sky, moonlight can be a huge interference. Storm activity needs to be at a very high level to be strong enough to be seen from as far away as New Zealand. But it can happen, and the moon provides natural foreground lighting to provide a point of difference in your photographs.

When is an aurora not an aurora?

Our excitement at chasing the lights can occasionally lead us to misinterpret our view of the sky. Sometimes we see faint lights in the sky or near the horizon and convince ourselves we’re looking at a display of aurora.

Some of the alternative light sources include

• Light pollution. If you’re in a city, suburb, or brightly lit town, you’re most unlikely to see any aurora. You need to find clear dark skies with a clear view to the south. Any bright towns in your field of view will be visible due to the dome of light pollution surrounding them. A quick check on a map will confirm if this is the case. Photos will record a white/yellow dome of light near the horizon.

• Clouds. Clouds can be the ultimate party-pooper when it comes to chasing the Southern Lights. And living in Aotearoa means there’s no shortage of nights when clouds roll in and block any chance of seeing the lights. However, clouds can also trick one into believing they can see an aurora. Low level clouds can be very reflective and if lit by a strong light source underneath, like a small town, they can take on the appearance of an aurora to the naked eye. Again, a quick test photo will usually reveal a lurking cloud.

• Airglow. The Aurorae aren’t the only form of light occurring naturally in the upper atmosphere. Different to the aurora, airglow is a result of photochemical reactions occurring high in the atmosphere. Processes like incoming ultraviolet radiation from the sun excite various atoms and molecules which then release energy – some of which is visible light. This light is so faint that even though it is present across the whole atmosphere, it can only be observed under dark night-time skies.

It usually appears brightest around 10° above the horizon since the atmosphere effectively appears denser to the observer than when looking straight up. Airglow occurs as green, or a rusty-orange light (in-camera) so can be mistaken for aurora on occasion. Aurora will only be visible to the south though, so if you’re not sure, take a test shot in another direction. Airglow will be visible around most of the horizon and even overhead on nights when it’s strongest.

• STEVE: Strong Thermal Emission Velocity Enhancement. Once thought to be a type of aurora, photographers around the world have helped scientists discover a new process whereby a narrow beam of purple and white light is generated by incredibly hot gases in the atmosphere. STEVE can sometimes be observed during

strong geomagnetic storms and will usually be a lot further north of the auroral light show.

• SAR. Stable Auroral Red Arcs (SAR arc) were once thought to be a type of aurora too. SARs form differently to aurora though – absorbing heat that’s leaking into the atmosphere through Earth’s ring current system.

So as you can see, even if you haven’t captured an aurora, you might just have recorded some other incredible phenomena that’s happening high above our heads – or maybe it was just the town lights from over the hill!

Candy Floss Skies (February 2023)

Te Waihora/Lake Ellesmere, Canterbury

All the factors were present at the start of the night that are usually a let-down to aurora chasers: wind, cloud, moonlight. The winds eased as the aurora developed, the cloud started to break and suddenly a dynamic scene was on offer to those chasers patient enough to wait. Of course, it could have, and often does, go the other way too! The pink colour of the aurora was bright enough to be faintly visible to the naked eye.

Panorama: 40 mm, f/2, 8s, ISO 1600

Photography Techniques

If you’re comfortable with the basic techniques of making nightscape images (see the article Astrophotography in Summer in the Feb 2024 issue of CameraTalk) then there really isn’t too much difference when it comes to capturing images of the Southern Lights.

The gear you’ll need:

• Camera

• Fast lens

• Tripod

Base exposure settings for a nightscape image taken in dark sky conditions with a 14 mm focal length lens:

• Aperture: f/2.8

• Shutter speed: 10” - 20”

• ISO: 1600-3200

Other camera settings:

Manual focus: learn how to use live view to manually focus on the stars.

Self-timer: 2-5s (avoids camera shake from pressing the shutter button).

Long exposure noise reduction: OFF. Doubles your processing time and you’ll miss the action.

White Balance: Set to 4000-5000K for consistency between frames. Adjust in postprocessing as desired.

Take a test shot and adjust settings as required. Also, learn how to use your camera’s histogram feature to avoid losing too much detail in the shadows or highlights due to clipping.

If you’re lucky enough to witness a reasonably strong display of Aurora Australis, then you should reduce your shutter speed accordingly. As well as protecting your highlights, you’ll capture more detail of the structure of the aurora – detail that is lost during fast-moving displays as it blurs together during your exposure. You might find that 4-6 seconds (or even faster) is quite adequate to capture a well-exposed image.

As always, the provided numbers are just a guide and are no substitute for practice, inthe-field experience, and reference to your histogram.

Once you have your test exposures finetuned, you might like to set the camera to make continuous exposures over a period of an hour or two. These can be edited together to produce a timelapse video. The timelapse will reveal the action and development of the aurora during the course of the night and can be fascinating to watch. Don’t forget to periodically monitor your histogram and exposure settings though – just in case the storm really fires up!

And please remember to take some spare charged batteries and memory cards just in case you run out mid-shoot!

Experimenting with different focal lengths is a great way to capture a variety of different images too. Sometimes you’ll want to capture the whole sky which might include other celestial objects like the Milky Way or Magellanic Clouds – nice reference points for Aurora Australis activity. You might even find that during the most active storms, even an UWA lens isn’t enough to capture the whole scene in one shot.

In this instance you might like to try capturing a panoramic image – something that’s definitely easier if you’ve tried it during the daytime! Alternatively, break out a lens with a longer focal length. This gives you an opportunity to capture some great detail

in the aurora; just keep your shutter speeds fast enough to avoid motion blur. I frequently shoot with a 40 mm (full-frame) lens when photographing aurora for the versatility it provides – both for detail shots and making panoramas.

A fast-moving storm is definitely easier to capture with a wider focal length though, but don’t be afraid to try something new.

Personally, I find one of the biggest challenges to capturing the Southern Lights is the selection of a compelling foreground. With most auroral displays occupying a relatively small portion of the sky, it can be difficult to find a complementary foreground that works to enhance your photo. Daytime reconnaissance with a compass app on your smartphone will help identify potential locations for future reference. Be on the lookout for suitable objects that might provide foreground interest. Look for shallow lakes that might provide stunning reflections on a calm night. An interesting skyline could

make a nice silhouette at the base of your photo.

Aurora Chaser's Etiquette

In recent years, there has been a rapid growth in interest from those hoping to catch a glimpse or photo of the Southern Lights. Even the latest smartphone models are capable of capturing basic images so the technology barrier to aurora photography is lower than ever before.

As a result, whenever the forecasts for aurora are looking promising, expect to see people out and about on their own aurora chase. Once remote and dark locations, especially those easily accessible by vehicles, will often now have small crowds of people gathered and yes, I’m counting five or six people as a crowd; astrophotographers are used to working alone!

Aurora Australis Reflection (August 2019)

An unusually calm night on Te Waihora/Lake Ellesmere allowed for a near-perfect reflection of the dancing Southern Lights.

Panorama: 24 mm, f/2 (est), 6s, ISO 3200

Tips:

So, a few tips that will help you to be a good citizen and member of the aurora-chasing community:

• Avoid or minimise using artificial light!

• Night vision can take 20 minutes to recover once exposed to bright light.

• Turn off all your car lights as soon as you’re safely parked.

• Learn to use your camera in the dark so that you don’t need to turn your headlamp on just to make a setting adjustment.

• Cover the status lights on your camera with black gaffers tape.

• Check that others have finished their exposures before turning on any artificial lights. Any kind of artificial lighting can ruin exposures – especially red lights!

• If you do need to use a light, use a red one with a small point source that has a very limited range. Small pen lights or key chain lights are best for this purpose. Shield the light to minimise its effect on other photographers.

• Always ask if you intend to light paint or use other artificial foreground lighting. Many photographers won’t appreciate artificial lighting if they’ve travelled to a dark sky location. It’s best to wait until you have the location to yourself, or others in your group want to shoot with artificial lighting.

Shooting Locations:

• Don’t set up in front of another photographer!

• If someone else has already set up where you want to be, just be patient, be friendly and wait until they have finished. Ask if it’s OK to set up next to them but be careful not to get in their field of view or touch any of their equipment.

• If someone is waiting for your spot, try to work as quickly as you can but still take care to get the shots you need. Explain your technique to the other person if you’re going to be there for a while.

• Don’t move into a prime spot if you are not ready to shoot. Get your gear and settings organised first.

• If you’re going to hike out of a location and need to use your white headlamp due to the terrain, let others know and check that they’ve finished shooting before you turn your light on and set off.

• When sharing images on social media, it might be a good idea to provide an overview of the technique used to create the final shot. Was it a single exposure? Panorama? Composite? Digital art? People will appreciate your honesty, especially if you have used tools like sky replacement. No one likes to be tricked. It’s also a great idea to include the time, date and location of your image in your post so that future visitors to the feed know when you took your image.

What apps do I recommend for getting started?

SpaceWeatherLive (aurora forecasts and real time data)

Planit Pro for location scouting, Sun/Moon info, astronomy data

Windy (cloud forecasts)

Zoom.Earth (current cloud conditions, live satellite)

I couldn’t possibly finish an article about chasing the Southern Lights in New Zealand without mentioning the incredibly popular Facebook group Aurora Australis (NZ) https:// www.facebook.com/groups/NZaurora

Featuring daily updates from Les Ladbrook, this group is an amazing community of likeminded aurora chasers. There is a wealth of information provided in the group’s Files section covering all sorts of relevant topics. It’s a great place to learn more about seeing and photographing the aurora from New Zealand and for you to share your own stories and images. And of course, if the sky lights up, expect this group to light up as well with people excitedly sharing their captures in near-real time.

Clear skies!

Aurora at Twilight (May 2017)

Te Waihora/Lake Ellesmere, Canterbury

An undulating display of aurora was visible as the skies darkened after sunset. The Magellanic Clouds are visible above the aurora. If you look closely, you’ll see that the top of the aurora is purply/blue – due to sunlight illuminating the top of the auroral activity several hundred kilometres above us.

Single frame: 14 mm, f/2.8, 20s, ISO3200

At the October 2023 National Convention, five members received their Fellowships. Starting with this issue we will profile those sets and find out what went into making them.

Developing a Fellowship Set

Gavin James FPSNZ explains

My Fellowship set was developed over about seven years. I tried various things. I had failed attempts in the years from about 2015 until last year.

I originally started with a concept called Abstracting the Female Form. I submitted three versions of that. There were various issues with it. The first one was to do with the lighting being too harsh for such a delicate subject.

With my next attempt, I tried to use 18 different models with nine images of each model on each print. That was very difficult and I had to cope with 18 times nine or 162 images. I made some errors and one issue was that I was unable to colour match one of the prints with the others. I had put borders around all of the individual images and I forgot to do one whole page! An obvious error.

The Honours Board didn’t like the fact that I had a full rear-facing image of each model in the middle of the set. This submission therefore failed.

My next attempt used a single model, and I developed what I thought was an excellent concept. The first row contained images of the face. The second row showed the hands in various positions, and finally the third row portrayed various full-body images of the model. Again, the Honours Board decided that it wasn’t at a level to their liking.

The issues were very minor but which they felt should be rectified, including one where the hand was not regarded by them to be the main subject of the image, or perhaps not dominant enough.

Finally, I arrived at a concept of doing a neoimpressionist set based on the works of Degas. I did two photo shoots to capture the basic images, and then spent some time editing them, as I wanted to fix the backgrounds to make them look more like walls. (I had used fabric hanging down, which looked as you would imagine.) I spent some time editing this background to remove the folds and wrinkles and to make the fabric resemble actual walls. I also had difficulty with colour matching, as (something I only discovered later) Adobe had made changes to the colour mode settings. I worked on techniques with colour grading and textures, following some overseas photographers and editors, namely Baev and also PixImperfect. The latter is run by an Indian Photoshop master and has many excellent tutorials on Youtube. Baev produces images that look much like actual paintings, something that I was attempting to achieve, but in a different style to his.

I completed one set and was more than happy with it, but the judging panel was divided. According to Ian Walls FPSNZ, the Board discussed my set for about an hour. Apparently, this is highly unusual.

When I received yet another rejection from the Honours Board, I was ready to move on to doing something else with my life other than spending thousands of hours taking photos and editing them. There were some issues with redoing the set that other photographers wouldn’t face. My model, already sporting some tattoos, had decided to have even more done. This meant that it was impossible to do a reshoot with her. I therefore decided to work with what I already had.

I tend to take lots of images, whether in a studio setting or outside. A typical studio shoot will result in somewhere between 200 and 300 images. That means that I have lots of material to work with. There were things that the honours board felt were not right, such as the look of an easy chair, which in some images were covered and in others not. There was one image that had a mirror with a reflection of the model, and the Board felt that the frame of the mirror was too dominant.

Now on to my successful set. I started with the images of the model that I already had, and selected some new ones, and then reprocessed the whole lot to achieve a quite different look.

I had obviously learned a great deal from the previous set, and I standardised the colour grading a lot more and changed the look of many of the images. As individual images, I sometimes preferred my original set, but overall, as a set, the images worked a lot better in my final selection. There is a flow from start to finish, and a great story that is obvious.

There are many more details that I could relate about how I developed from having never done nude photography before to creating my final set, with lots of issues, technical and human, but that will cover the story for now.

The main thing that I would emphasise is to look for a project that is completely new, or at least a completely new way of looking at the subject. From start to finish, I tried several different concepts before creating a successful set.

Just keep listening to the feedback, and always be willing to look for new methods to solve the technical issues that you face. Regarding feedback, I recommended to the Honours Board that they provide a great deal more feedback, and that is something that they have now implemented.

The set as displayed to the Honours Board

AV Notes

By Trish McAuslan FPSNZ AV-AAPS EFIAP/b FAPS Coordinator of Audio-Visuals for PSNZ

It has been very busy on the audio-visual front. It is good to see that three PSNZ members have entered the international Challenge 321 salon. We have just started judging that competition but we won’t get the results until the middle of June.

I have been busy preparing for the AV Workshops which will be held on Zoom during April. If anyone is not able to attend but would like to learn how to create an AV, please contact me at mcauslanav@gmail.com. If enough people are interested we will try to run a repeat workshop.

The Tauranga AV Salon will be held again this year. Entries open on 1 May and close on 5 June.You may enter from one up to four AVs into this competition. There are four categories:

• Documentary

• Music, Poetry or Song

• The World of Nature

• Theme

For more information, including the updated Guidelines and Rules, see the Tauranga Photographic Society website: www.taurangaphoto.nz. From the menu, select Audio Visual Salon.

Instilling Emotion using Photoshop

A PSNZ workshop reviewed by Stephanie Forrester APSNZ

Twelve eager PSNZ members met at Risingholme Community Centre in Christchurch at midday on Friday 15 March. They were there for two and a half days of intensive learning with Photoshop guru Helen McLeod FPSNZ. On Friday afternoon Helen walked us through setting up Photoshop for editing and then demonstrated sculpting light using Photoshop with some of her images. Friday ended with a number of our group meeting up for pizza and some time to get to know one another.

We met again on Saturday morning at Sumner Beach to make our own images to work on later in the weekend. Then it was back to the learning centre to work through the steps Helen uses to process an image. This work was done on images Helen had supplied to us prior to the workshop starting. She walked us very carefully through each step at a pace that worked well for me and I think for most in the group. She also provided a lot of individual support for those who needed a little extra guidance.

On Sunday it was over to our own imagination to process either images we made at Sumner Beach or images we had brought with us. Helen demonstrated how to instil emotion using textures we made during the weekend and to finish an image by making a border.

It was a very intense weekend in terms of the learning curve but also a very relaxed weekend led by an extremely competent and creative Photoshop user. I would recommend this workshop to anyone wanting to take their Photoshop skills to another level.

Photo by Lynne Roberts LPSNZ

Ann Kilpatrick

Gillian Glover APSNZ

Inger Perkins

Participants' comments

This is an outstanding Workshop, well presented and including images of screen shots of the various processes and tools available in Photoshop software. Time was given to explore these new techniques using Helen’s supplied images or your own. I am grateful to PSNZ for promoting this good quality workshop.

Gillian Clover APSNZ

Even though I had already done Helen’s Photoshop Bootcamp last September I really enjoyed the long weekend in Christchurch. I learned something new from the very first minute Helen started teaching; that is awesome. There were also aspects of editing that I had been struggling with that crystallised for me. I am not one for landscapes, or for Bridge, but I may become a convert after learning more about Photoshop from Helen. I am certainly thinking about how I can edit photos to get the most emotion out of them. I am hopeful that one day I can make images that people will want to “lean into”.

Ann Kilpatrick

Lynne Roberts LPSNZ

Stephanie Forrester APSNZ

Impressionist Photography

Margaret Jones LPSNZ reviews Eva Polak’s PSNZ Workshop

What makes us sign up for workshops? Whatever your particular motivation, Eva Polak’s Impressionist Photography Workshop in March would have ticked all the boxes for you. We had our “aha!” moments, and our “uh oh” moments. Our “woo hoo” moments and our “oh no” moments; but altogether they added up to two days of learning heaps, of having fun, and of relaxing into our photography. What more could one ask for?

The five pre-workshop questions, ‘What photography means to us?’ etc., had us in the zone as the first day started. A session on light, with Eva demonstrating on some moss she had brought in, was followed by practice in the garden. We were encouraged by Eva to use seeing, thinking and feeling with our photography and look for simpler abstract shapes in preference to the “whole”. Know your own gear and how it works so you can alter settings quickly as an auto response to changing photographic opportunities. Using a shallow depth-of-field, creating bokeh and slow shutter speed to use movement were more concepts we tried.

In the afternoon a session on telling a story had us all back in the garden trying to tell stories with our compositions. Some of us even succeeded!

The second day was all about techniques and Eva was well organised and informative. She presented techniques such as using Vaseline on the front of a lens filter, in-camera movement, long exposure, defocusing purposefully and multiple in-camera exposures. We were challenged to see the light, look for lines and colour; to be patient and persistent and to photograph to please yourself, rather than others. Eva’s lovely images demonstrated the techniques masterfully, and once again we were off out into the garden to practise. For the final session we each provided three of our images to share with the class and received feedback on our results. The range of different work we each had produced was amazing.

Eva was warm, funny and engaging. She was generous with her amazing knowledge and skills, and her constructive criticism and advice was spot on. Eva’s images and presentation were inspiring. I can’t wait to get out with my camera to practise the techniques she demonstrated.

What makes us sign up for workshops?

If it’s to have a great time learning, having fun, and meeting like-minded people, the PSNZ Impressionist Photography workshop was a hit.

Margaret Jones LPSNZ

Claire Sherrington

Jane Muller

Eric Morgan

Wendy Pemberton LPSNZ

Anita Ruggle-Lussy LPSNZ

Charlotte Johnson – a Fabulous Fabric Portrait Workshop!

Janet Munnings LPSNZ LRPS reports

Charlotte welcomed everyone to the workshop and explained the concept of “model etiquette” — no touching the models without asking, not expecting the model to hold a pose for too long and being courteous to them and fellow photographers during the workshop. Charlotte had four fabulous and very amenable models — Vivienne, Bella, Laura and Natalie.

The workshop comprised a mixed group of amateur and semi-professional photographers of various ages. After the formalities, I thanked everyone for arriving on time, explained the timetable and breaks for morning tea and lunch. The participants were formed into two groups of three and one group of four. The models donned wonderful dresses, headgear and jewellery; Charlotte provided the backdrops which included a smoke machine and a garden blower which enabled ideal opportunities for photo shoots.

Photoshoots were arranged both inside and outside the studio, with lights and reflectors. The eight ladies felt comfortable arranging the models and choosing various costumes and accessories for them. The two gentlemen in the group said they felt somewhat out of their comfort zone, but were, nonetheless, glad they had attended the workshop.

Janet Munnings

Janet Munnings

After lunch, Charlotte demonstrated the concept, “Build a Dress”. This was done with a two-metre length piece of fabric draped around the model and clipped into place with pins. Jewellery and belts were added; this provided an effective and least expensive way to achieve excellent results.

We started the second day an hour earlier to provide an opportunity for anyone in the group to have extra tuition in Lightroom or Photoshop. During the day, Charlotte talked about the technique of compositing an image. This involved the collation of multiple images which featured the best flowing fabric elements and model poses.

The class as a whole coped amazingly well; they were introduced to post-processing techniques such as adding backdrops, “warping”, “liquefy”, “blending” and “fill” to the images they had taken in the previous day's workshop.

Group members commented...

D Learning to cope with lighting conditions and working in manual instead of Auto.

D I always learn more on a PSNZ workshop than on a private one.

D I learned how to present the model in the most flattering position.

D I found the people very friendly. but felt the workshop might have been introduced with a PowerPoint presentation to give us some ideas.

D I Ioved having model settings and the availability to photograph because I am very shy and usually find it difficult to approach people. It gave me a good opportunity to interact with the models.

Janet Munnings

Janet Munnings

Lia Priemus

Alan Ofsoski LPSNZ

Ann Bolton LPSNZ

Here is my little contribution from Charlotte's workshop. The models were professional and hardly needed any direction, and at times I felt sorry for them because the photographers in the workshop became a jostling crowd vying for an opportune position.

As a whole I enjoyed the workshop and meeting some like-minded people In particular I liked learning some new photoshop skills as I’ve only just invested and gone from CS6 to photoshop 2024. As such I have applied some new learnings.

PS Thanks to all concerned

Lia Priemus

Lia Priemus

Fabulous Fabric Portraits with Charlotte Johnson!

Karen Moffatt-McLeod LPSNZ BPSA reports

I have been a longtime admirer of Charlotte’s work and had done some online tutorials through Sony Scene that she had held, so I was very keen to attend this workshop, particularly the second day.

Some people asked why I was there, as I do a lot of creative portrait work anyway. My answer was that you can, and should never stop learning. While I have no issues dealing with posing models, costuming and the creative ideas (but who doesn’t love playing when they get given a chance), I was keen to learn more about how Charlotte processed her images, and particularly the layers of fabric, as this is something I do not generally do.

We had some stunning and very professional models and were lucky that Saturday was fine as the venue was rather small for this workshop, so one model was located outside for groups to work with. The concept was to break up into three groups to work with a model with the members’ own ideas, then rotate to another model when the groups had all finished their shoot.

I was fortunate that the group I was with were all very creative. They worked well together, helping each other and giving space to each other to shoot our concepts. Also, I was very appreciative that Charlotte let us use a very expensive dress; she had had the material made from her water/wave images and then made into a dress. This photographed extremely well.

Sunday was about processing, with Charlotte giving good demonstrations of how she worked. Then, with her instructions, it was time for us to practise. I played with an image at the workshop, and since then practised with another image – the “wave” dress as we called it.

My images show the base image (SOC) as I liked the pose in this image the best. Taken outside in very bright sun against a wall –with windows at one end, door and rubbish bins at the other. One member of my group was throwing the fabric of the dress while I captured images. With the sun popping in and out of the clouds it was a little challenging to say the least. However, I found some lovely “throws” that I wanted to use to make it appear that there were waves of the dress. I have included a couple of these images with this article.

I then went on to process, using the base image and then parts of the dress from three images. I got rid of the windows/door/rubbish bins, person and hands to create my image, using layers as we had been shown.

Even though Charlotte had shown us “Generative Fill”, I chose to use an image I had taken in 2022 as a background, as I thought the rocks and sea behind worked well with my image.

I would like to say a huge thank -you to Charlotte, makeup artist/dresser extraordinaire Laura and our models Bella (in the “wave” dress), Vivi and Natalie.

PSNZ Canon Online Photographer 2024

Round 3 Results

By John Hawkins PSNZ Canon Online Coordinator

The Winner!

Congratulations to Lynn Fothergill LPSNZ, winner of the Canon Online round 3 for 2024. There were 91 entries in this round. About Lynn and her winning image…

I’ve had a penchant for photography most of my life but became passionate about expressing myself through photography about 16 years ago. My photography journey has led me down many paths, including gaining my Licentiate with PSNZ and completing my Diploma of Digital Photography through the Southern Institute of Technology.

I am thrilled to have won this round of Canon Online with an image that truly represents what I love most about making pictures. Of all the things to photograph, people are my favourite. In particular, I love to capture children at play and this portrait of Riley, the “King of His Land”, is an authentic example of that. I’d taken some semi-formal shots of him and his sister, then just followed them as they played in the overgrown grass. The toe toe became a natural part of this play. The shot is in no way posed for me. He was in his own world and I love that this is what shines through.

The judge for this round was James Gibson APSNZ EFIAP/b.

An introduction to James…

I am a very outdoorsy person. My passion for the mountains started when I was quite young, through climbing and mountaineering in the English Lake District, Scotland and into the French alps. Taking a camera into remote locations has taught me to see and experience them in a new light, and being able to share that emotion with others is one of the many joys of photography.

It has been a privilege to view all your works and select the winning images for this round of Canon Online. Many of the submitted images were very nicely crafted and technically excellent images, so congratulations to everyone who submitted. The images that have made my final selection are quite varied in subject and style, but for me had the strongest emotional connection.

1st King of this Land - Lynn Fothergill LPSNZ

This image is so deeply loaded with emotion it’s impossible not to be drawn in to a feeling of youthful exploration and wonder. I can feel the wind and limitless freedom. The strong composition and positioning of the boy within the crossed toe toe, alone in the wide expanse of his kingdom, draws me in to him, and then further into his imagination. Beautifully subtle processing and depth of field.

... PSNZ Canon Online. Awarded Photos

2nd Adélie on Ice - Jo Broadhead APSNZ

A technically superb natural history image of this adélie penguin, with lovely (perceived) interaction with the viewer. Great framing to give context and space; the bird looks relaxed and enjoying the warm sunlight hues.

4th Last to Fall - Jo Curtis APSNZ

Nicely crafted composition to highlight the last clinging end of autumn. I love the earthy tones and smattering of stems in the background leaf carpet. The brighter main subject works well, contrasted with the light border which for me complements the subject and sense of decay.

3rd Renaissance - Karen MoffattMcleod APSNZ BPSA

Soft and emotive lighting have created a dramatic mood for this gorgeous portrait. The plain expression on the girl’s face works so well for me, creating a sense of foreboding, almost resignation to her fate. The lovely composition, dress and HMU create a complete, rounded work.

6th Tasman Lake Astro - Sean King

Superb sharpness throughout this image, showing the lake outflow and icebergs in exquisite detail, with the milky way creating a lovely background and reflections in the still lake water.

5th A Morning Monarch - Julia Seagar LPSNZ

I really enjoyed the colour palette used in this composition, with the gritty, darker base gradually giving way to lighter, smoother textures higher up. The coarse overlays of paint and mould-like splotches speak to me of impermanence and the fleeting beauty of the monarch and flower head.

7th Need for Speed - Steve Smith

This is a very nicely lit commercial-style image of this machine, showing the contours and sleek geometry to their best. The subtle “reflection” helps ground the subject.

...PSNZ Canon Online. Awarded Photos

8th Dawn Wakes - Brian Turner LPSNZ

A captivating study of patterns and lovely morning light as the vessel heads out to sea. Peaceful and engaging. I really enjoyed the play on words of the title too – fun!

10th Sea Fog Meets Land Fog - Sharon Souproanuck LPSNZ

Lovely side light sets off the sea spray and mist in this coastal scene. I really enjoyed the contrast of the sharp, static water droplets in the waves with the ethereal mist and receding lines of the previous wave on the beach, creating a lovely juxtaposition of motion and free-frame action.

9th Australasian Crested Grebe - Martin Barwood LPSNZ

Such a clean and simple image. I love the milky water and shallow depth of field. It really isolates the grebe against the lighter green pastel background.

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