CameraTalk August 2022 by Photographic Society of New Zealand

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

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

August 2022

In this issue Richard Laing

PRESIDENT

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

The August 2022 issue of CameraTalk features a diverse range of topics, including a landscape photography feature, this year’s honours results, an introduction to “Good Photo Spots” and PSNZ and camera club news.

SECRETARY

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

EDITOR & ADVERTISING Richard Laing e. rlaing@mac.com

SUBEDITOR

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Lindsay Stockbridge LPSNZ

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GRAPHIC DESIGN

Our Next Issue (October 2022) We plan to run special features on project photography (sets of images rather than single shots) in conjunction with an introduction to the PSNZ honours system. We welcome any potential contributions to the issue. The deadline for submissions is 25 September.

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

Ana Stevens APSNZ m. 022 193 1973 e. anci.stevens@gmail.com

NEXT CAMERATALK DEADLINE 25 September 2022 Email your contributions to the Subeditor. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned. The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ. On the Cover: Matariki Wahine by Karen Moffatt-McLeod APSNZ

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A feature on landscape photography with contributions from Helen McLeod DDP DPP FPSNZ GPSA ARPS and Neil Protheroe Reports on recent PSNZ Photography Astro and Landscape workshops This year’s honours results—congratulations to all those who gained PSNZ honours this year! FIAP updates News and notices including the new Portrait Salon organised by Tauranga Photographic Society and a return to Regional Conventions An introduction to the new “Good Photo Spots” feature on the PSNZ member site Canon Online Round 3 results.

For the final 2022 edition We are looking for articles on the mysteries of film photography which has been making a comeback in recent years. Articles from new converts and old hands would be very welcome.

Content Key dates for the diary

Landscape photography

Good Photo Spots!

Photographing waterfalls

PSNZ Queenstown Landscape Workshop

PSNZ Coromandel Landscape Workshop

South Island Astro Photography Workshop

35th FIAP Black & White Biennial, 2022

PSNZ Judge Training, 2022

PSNZ Notices

PSNZ Honours Results 2022

PSNZ Members Webpages

Audio-Visual News

New Zealand’s First National Portrait Salon

PSNZ Canon Online Round 3 Results

A Note from the President As I write this at the end of July there is little doubt that mother nature is letting us know that we are in the grip of winter. The weather over the school holidays has been extreme in many parts of the country, and I suspect that a lot of plans were disrupted. Still, there is no excuse not to get the cameras out and either shoot the winter landscapes or do something creative inside. Speaking of landscapes we finally managed to run the long-delayed Meghan Maloney workshop in the Coromandel. I understand most people enjoyed themselves even though it rained during the first session. The second workshop in Queenstown was a lot luckier with the weather, judging by the photos that I have seen online. One of the privileges of being President is to be able to attend the Honours Board assessment that had to be rescheduled from March to June. The date change meant that I could not attend all sessions; having submitted for APSNZ, it was felt not appropriate for me to be there for that session. Therefore, I only witnessed the open Fellowship assessments.

... A Note from the President Over the last three years, Honours Board chair Bruce Girdwood FPSNZ has spoken to both Council and the members about the assessment process, but it is something else to see it in action. Every set was given a high degree of respect by members of the Board, and there were very few clear-cut decisions on the first vote. Many of the sets involved a lot of discussion, with multiple votes taken in some cases before everyone was happy with the outcome reached. I was really impressed with the way Bruce could be totally impartial in assisting the member of the Board to evaluate a set of images when in fact he had issues with them himself. Congratulations to all those who were successful, particularly to our three new fellows Toya Heatley FPSNZ AFIAP, Shona Kebble FPSNZ and Trish McAuslin FPSNZ EFIAP/b FAPS AVAAPS. We will celebrate these successes at honours dinners in both Hamilton and Christchurch. For those who were not successful; I know the pain personally, as I failed both LPSNZ and APSNZ on the first attempt. Bruce is trying to get the feedback to you as soon as possible, so that you can see why your set did not get through. The video feedback is an excellent resource to build on for next year. For those sitting on the fence, I really encourage you to “have a go”. If you don’t succeed on the first attempt you will learn a lot in the process. Many clubs have groups that help at the LPSNZ level. We also have private Facebook groups for the three levels that received a lot of positive feedback this year. By now we had hoped to have held two Judge Training weekends. Unfortunately, we had to cancel the Taupō one due to the lower number registered than was needed. These weekends are heavily subsidised by PSNZ, even when they have the ideal number of 30 participants.

After the Orewa workshop ran at half that and even fewer booked for Taupō, it was not financially viable to operate them. I am not sure whether the issue was a lack of interest or people being unwilling to spend two days in close quarters due to the resurgence of Covid. Faced with a similar issue with the next one, planned in Christchurch, the decision has been made to run the event online as a trial for the future. I thank Shona Jaray APSNZ and Bruce Girdwood for their work in changing the way the course is delivered. Speaking of innovation, it is great to see that clubs are showing the nationwide salons using either Zoom or YouTube as part of the programme. Both the Laurie Thomas and Trenna Packer were presented this way. North Shore Photographic Society went one step further and live streamed the salon judging. I have long been an advocate of opening up judging so that members can learn what it is about images that results in them receiving awards. I commend the team behind the North Shore Salon for taking this step. Finally, it is pleasing to see that the majority of our trade partners from 2021 decided to sign on and continue to support PSNZ. In the past, trade support has been closely linked to their attendance at the convention, which of course did not happen this year. I commend the efforts of Councillor for Partnerships, Aston Moss LPSNZ, who has negotiated contracts favourable to all parties despite our major event being cancelled. Paul Whitham APSNZ, President

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

Key Dates for the Diary August 25

Canon Online Round 4 closes

August 26 & 27

Astro Photography with Greg Stevens FPSNZ – near Auckland

August 31

National Triptych Salon closes

September 4

1st National Portrait Salon opens

September 10 & 11

Judge Training weekend – Merivale, Christchurch

September 25

Deadline for content for October edition of CameraTalk

September 30

1st National Portrait Salon closes

October 1 & 2

Creative Portrait Photography with Karolina Ferbei – Tauranga

October 7 to 9

Bird Photography with Steve Attwood – Banks Peninsula area, Canterbury

October 15 & 16

Judge Training weekend ̶ Dunedin

October 22 to 24

Novice Landscape with Graham Dainty FPSNZ ̶ Buller

October 25

Canon Online Round 5 closes

November 25

Deadline for content for December edition of CameraTalk

November 26

ICM (Intentional Camera Movement) workshop with Judy Stokes APSNZ ̶ Miranda

Landscape Photography By Helen McLeod DDP DPP FPSNZ GPSA ARPS One of my passions is landscape photography. In my experience, from talking to a number of photographers, there is a feeling that a landscape photographer isn’t really considered as having any photographic skill. I mean, how hard can it be to shoot a landscape? Is there really a lot of skill involved? After all, the scene is there and you only really have to point your camera at it, right? Landscape is, hands down, the most popular genre of photography. Why? They don’t move (mostly), they don’t bite, nor do they sue you for invasion of privacy (mostly). But even so, creating a truly beautiful landscape takes skill, considerable patience, and like many genres of this awesome hobby, a generous chunk of luck.

I have concluded that one significant reason for landscape photography’s popularity is that it does not involve dealing with people. You can just go somewhere and immerse yourself in the landscape ̶ and just let it all happen. Dealing with people can be stressful, so it makes sense that being in a landscape poses a significantly less stressful opportunity to make great images. This can provide an excellent opportunity to remove yourself from the rat race, slow down and enjoy nature and its beauty. Now, I’m sure you have all seen those wonderfully perfect unsolicited slide shows that get passed around the internet, with recipients often scratching their heads and asking, “How can I take photos like this?” The answer is simple: learn the craft, go to fabulous places, and wait for the light to make it all perfect. So, there it is, three instant tips that are guaranteed to make your landscapes shine with a brilliance that might match those once seemingly impossible to emulate internet slideshows.

...Landscape Photography Living in New Zealand, we are blessed with some truly incredible landscapes. Doing these scenes justice often requires more than simply hopping out of the car and rattling off a few quick snaps. With a little forethought, it’s possible to turn an average landscape image into something fit for the wall. Sometimes a slightly different approach to capture the landscape is what’s called for, while at other times it’s knowing how to get the most out of the image at the editing stage.

Stability is the Key Sometimes the simplest things can make the biggest difference. When it comes to landscape photography, a sturdy tripod should be an essential piece of equipment. Admittedly, they can be cumbersome and a pain to lug around, but the results are always worth the effort. Controlling shutter speed can be a major factor in a successful landscape photograph, and exposure times can be as long as several seconds or even a few minutes! A steady shooting platform will help to ensure that your shots are shake free. And, if you want to make enlargements, just ensuring there is absolutely no camera shake. Even with faster shutter speeds, this is incredibly important if you want your photograph to retain all the wonderful detail captured by the lens. There can be a certain amount of waiting around when shooting landscapes, whether waiting for the right light or for some particular event to occur. Having the scene framed and the camera locked off on a tripod means that you know it’s ready to go when that fleeting moment arrives.

In the Right Light All “successful” landscape images have something in common: the quality of the light. Unlike a studio environment, the very nature of landscape photography means that lighting is something that we have little control over. We do, however, have a choice of when to take the picture.

One of the phrases commonly associated with landscape photography is the “golden hour”. This refers to the first and last hour of sunlight in the day. At these times of the day, the sun is low on the horizon and so its light must travel through more of the atmosphere. This reduces the intensity of the direct light (coming from the sun), allowing the more indirect light (from the sky) to come through. As a result, the light is softer and shadows are generally less harsh. It may also have a warmer hue, helping to produce those characteristic fiery skies, the hallmark of a golden hour image.

...Landscape Photography Location, Location, Location Location is almost as important as the quality of light. To be fair, if the light is stunning, you can make even the most mundane of locations appear otherworldly and interesting.

Over the years I have been very fortunate to have travelled a lot. I visit areas over and over again, so many times that you might think me crazy. On a personal level, many of my “better” images were achieved because I have visited the same place over a number of years, giving me a better chance of being there for “the shot”. There’s a degree of chance and luck in the process of obtaining “the image”, but knowing the location fully is also a terrific asset.

One trick I have picked up over the years is to learn as much about your next destination as possible before you get there. For starters, research the geography as well as the climate, but also take a look at what local photographers have produced – anything that tells you more about a specific location. More often than not, this kind of pre-trip research can pay huge dividends, not only in saving time on a flying visit, but also in allowing you to focus on just the relevant locations for great results.

Whatever the Weather Okay, so I’m sure we would all prefer to shoot only on warm, sun-drenched, balmy days. Here in New Zealand, we have our fair share of those, but of course, there will also be days when it’s not wall-to-wall blue skies. Personally, I look forward to those “not so good” weather days when shooting landscapes.

One of the characteristics of shooting in the full NZ sun is that the lighting can be quite harsh, meaning highlights are very bright and shadows very dark. A bit of cloud cover (sometimes referred to as “Nature’s soft box”) softens the light, reducing the contrast in the scene. This in turn makes it much easier to capture both shadow and highlight detail in a single exposure. A few heavy, brooding clouds are also just the ticket for adding a bit of tension and drama to a landscape. Nor should the fun stop when the heavens open. Those drizzly, misty days are perfect for a trip out with the camera. In addition to the reduced contrast, the damp conditions give foliage that extra bit of lushness and the mist adds mood and atmosphere (literally). Another advantage in venturing out when most would stay at home, is exactly that. If the weather is inclement, there’s a good chance you’ll have the place to yourself.

...Landscape Photography

This leads nicely into…

Cold Shooting Most modern cameras will work in cold climates so with a few added layers, why shouldn’t you?

Snowy, cold landscapes are so attractive; well, they are to me at least. Why? I think these landscapes are very different, whereas the snow-covered landscapes are like being on the surface of the moon, with very little detail. You experience the surrounding vista in a totally unexpected way – some work with more snow, others with less, and heading into these areas can mean you have no idea what to expect. 12

Be aware, camera batteries work fine in cold temperatures, but they lose their charge more quickly. The solution is to have at least two batteries which you can rotate between the camera and a warm, inner pocket next to your body. While they appear to die as they become colder, they will actually last for as long as normal once you’ve warmed them back up. As for the cameras themselves, they seem to work fine – personally speaking, I have never had a problem and have used them in temperatures as low as -10oC in the McKenzie Country and Central Otago (possibly even lower).

Enhance with Editing After a successful capture, careful editing can reveal an image’s full potential. Although at times the editing process can significantly change the overall look of an image, the key is to build those changes up gradually. Applying several subtle edits as opposed to a single dramatic one will give the final image a much more natural feel and far less “photoshopped” appearance.

Modifying the Light One of the benefits of shooting on overcast days or in soft light is that it makes it much easier to control and “modify” the light during editing. A simple yet effective edit is to add a vignette to the image. By darkening the edges of the frame, you help to keep the eye of the viewer within the image. It doesn’t have to be a significant change either. Even a very slight vignette can make a big difference. Another effective technique is selectively lightening and darkening parts of the scene to help concentrate the attention of the viewer onto the subject. Once again, subtlety is the key. Building up the effect gradually will avoid creating hard transitions between the light and dark areas.

...Landscape Photography Modifying Colour Another way to draw attention to the subject is to control the colours in the scene. I find that I often slightly mute or darken some background colours so that the subject stands out. It is especially useful for those rich blue skies. While they can look great in a holiday brochure, I prefer a more subdued feel to the skies in my landscapes. Of course, some landscapes look better as black and white images. Removing the colour completely highlights the graphic nature of the scene. Simply desaturating a colour image is a start, but I find they can often look a little muddy. Most editing software has dedicated black and white conversion options. As well as having a bunch of preset looks, they will also often allow you to tailor the conversion to suit your image, by providing control over the individual tones in the scene.

Obviously, there is more to landscape photography than what I could include here. However, what I have included should provide plenty of food for thought. I hope I have dispelled the myth that landscape photography is a genre that requires little skill and forethought. You never know… Someday I hope to meet you out in amongst our beautiful country, capturing landscape images worthy of hanging on a wall in your home.

Good Photo Spots! By Jane Muller, Councillor for Communications

If you’re off on a photography holiday, or just have half an hour to sneak away with your camera when you’re out of town, PSNZ has a new website page that could point you and your camera in the right direction for some great photos. Good Photo Spots (GPS) is a list of places in New Zealand to go to for photography. You’ll find locations that the Information Centre or Trip Advisor etc may not know about. They are great for photos and could be just what you’re looking for. These are not the secret and special places that only you and your best photography friends know about. We don’t want to turn those into new “Wanaka Tree” situations! They are just places that most photographers in your area know about, but people from out of town may not. It’s a work in progress though. It needs members’ input to make it really useful. There’s a link on the page for you to add more “spots”. The more we can add, the better it will be. To avoid the information about each spot going out of date, and to save vital and generous PSNZ volunteers from more work keeping the information current, we have deliberately chosen just to name the places. Users will need to google the “spots” to find up-to-date information. Thanks to all the people who have already contributed “spots”. We couldn’t have done it without you. If none of your home town places are on the page, how about adding to it now! If you use the page ̶ thanks, and good luck. If your images are not what you hoped for – better luck next time, and please don’t “shoot” the messenger!

To find the page, log into the Members Area of the PSNZ website https:// photography.org.nz/ and scroll down to Good Photo Spots.

Photographing Waterfalls By Neil Protheroe, Professional landscape photographer and workshop tutor

Picture This Photography Weekends Like the pristine purity of snow-capped mountains and the aqua-blue colour of a glacial lake, waterfalls have a fascinating allure for most of us. The thunderous noise of a huge waterfall is an awesome demonstration of nature’s raw power, while a smaller, more gentle cascade tumbling over rocks in a forest can be an expression of beauty, delicacy and serenity. Perhaps we see the movement of water as giving life to the stillness of a landscape: a sense of being, of never standing still, but ever-present. There is something magical about waterfalls, and it is perhaps for that reason that we find them so compelling to photograph ̶ though doing so successfully is not as easy as it looks!

How then, to best capture a waterfall on camera? First, we must consider the “look” of the image we are going to make. Our own eyes function more like a video camera than a single-image stills camera and, with this in mind, were we to take a single still image from a video film of a waterfall, the freezing of the movement of water may look unnatural to us. It is generally preferable and more pleasing to the eye to convey the movement of the water by creating a silky, ribbon-like effect, using a long exposure ̶ though, like any rule, there will be exceptions, more of which later

Equipment Needed Tripod - A sturdy tripod is essential for waterfalls. Needless to say, it will keep your camera stable and still during the exposure, but the additional benefit is to slow you down and allow you to concentrate on your composition and camera settings with the camera in place. Remote Release - It’s always a good idea to use one of these to eliminate any vibration or shake when releasing the shutter, though the camera’s self-timer is just as effective. Some newer cameras have an exposure delay timer which does the same job, pausing the release of the shutter for a brief moment once your finger has pressed the button. Polarising Filter - This is very useful for waterfalls since it can reduce glare and reflections from water and wet rocks, as well as remove reflected light from shallow water, giving us a clearer view beneath the surface. A polariser also reduces the amount of light entering the lens, facilitating a longer exposure. Neutral Density Filter - This is used to reduce the amount of light entering the lens and thereby force a longer exposure. The strength of the filter will of course depend on the level of ambient light. A 2 or 3-stop filter may suffice to give the exposure time needed. In very bright conditions, a 6-stop may be needed. Lens Cloth - Waterfalls can often cause spray, and you’ll want to dry that off your lens! Lens Choice and Composition

Floret of Queen Ann Lace

Astrantia

For most waterfalls we come across, a standard zoom lens – 16-80mm or 18-55mm on an APSC camera, and 24-70 or 24-105 on a full frame camera – will be sufficient. Occasionally a wider angle may be needed, for example when photographing up close or when facing a particularly tall waterfall at close quarters. For abstract images, or when isolating a small part of the falls, then a telephoto lens will probably be needed, perhaps a 70-200mm or 100-400mm on a full frame camera. Telephoto lenses also have the effect of compressing the near and far elements of the subject, which can be particularly pleasing for an abstract composition. Waterfalls frequently lend themselves to multiple compositions. They are often to be found in bush, surrounded by trees and foliage, so time of year is a factor to consider when seeking them out. Spring and autumn are probably the best seasons, since in summer the flow of the falls may be reduced to a mere trickle and in winter the surrounding trees may be bare. Time of day is also an important consideration. Water is highly reflective and in bright sunlight there is every chance that the white tones of the scene ̶ the water ̶ will be unacceptably blown out. In low light the surrounding elements of the scene may be in deep shadow and the contrast range may exceed the dynamic range capability of the camera, in which case, multiple exposures may be required, for blending together in post-processing.

... Photographing Waterfalls The best conditions to photograph waterfalls are under cloudy skies with little direct sunlight on the falls themselves. Including the sky in a composition might be desirable if it adds interest but again, the contrast range between sky and foliage may be too great for the camera, in which case an exposure blend or graduated neutral density filter might be called for. As a rule, if the sky does not add anything to the composition, there is no real need to include it. Foreground interest may include rocks in the water, smaller cascades or perhaps some tree ferns which you may wish to include, using a wide-angle lens to get low and close. Some falls are best photographed face-on, whilst others may work better from an angle or even side-on. There are also endless possibilities for abstract images, using a telephoto lens to hone in on just a small part of the waterfall, perhaps where its water hits rocks and bounces off them. The halfway house might be a composition of just part of the falls; for example the lower reaches of the cascade, and the pool of water into which the falls flow. It’s usually a good idea to avoid photographing smaller waterfalls after heavy rain, since the water might be dirty and too voluminous to reflect the natural beauty of the cascade. On the other hand, more dramatic cliff-face falls such as those found in Fiordland usually benefit from heavy rain to fill them. More on this later.

...Photographing Waterfalls Camera Settings This is the tricky part. There are no hard and fast rules around camera settings because they will always be dependent on several factors: the level of ambient light, the source direction of the light, the volume of water in the falls, the effect we want to create, and the depth of field required. Manual exposure mode is best selected for waterfalls. Since we are probably wishing to achieve a relatively long exposure in daylight, we would first select the lowest ISO possible, say 100. Our choice of lens aperture will be governed first by the depth of field we need, according to the depth of the scene components, and second by our need to control the amount of light entering the lens to manage the shutter speed. Evaluative/matrix metering should be fine for most waterfall scenes. However, if the falls are face-on and the water is bright white, perhaps with sunlight on it as well, spot metering may yield more accurate exposure results. Using this abstract image of Purakaunui Falls as an example, an aperture of f/8 or even f/5.6 would have been perfectly suitable to achieve the desired depth of field, but I used f/16 in order to control the light entering the lens and thus apply the correct shutter speed for the motion blur effect I wanted to create.

Here, some trial and error is normally called for. We may be able to capture the movement of a fast-flowing waterfall with a shutter speed as great as 1/20 or 1/30 seconds, but in situations where the water volume is less, we may need a much longer exposure of several seconds to create the same effect. Every situation is different. Having chosen an aperture, for example f/16, to both maximise depth of field and restrict the light entering the lens, if the resultant shutter speed is too slow, the water flow may resemble a bright white mass, with little or no definition or detail and a high possibility of blown highlights. Too fast and the water may appear “stringy” as the motion is frozen, or worse, as frozen droplets. The optimum values will lie somewhere in between, and a little experimentation and practice are needed to gauge where they lie. If the ambient lighting is too bright to enable a suitably long exposure to be achieved, then a neutral density filter will be required, and again some trial and error will be needed to determine the appropriate choice of strength. Attaching an ND filter to the lens will reduce the light hitting the camera sensor and a slower shutter speed will be needed to achieve a correct exposure. If the resulting image is not how we want it to look, we may need to change the aperture, say from f/16 to f/11, or even change the ISO by an increment. Remember that the “look” of the image will be determined primarily by the shutter speed ̶ nothing else.

...Photographing Waterfalls Complications Wind - Having put in a lot of thought and preparation to create that perfect silky look for the waterfall in front of us, we suddenly realise that the breeze in the air is causing the foliage of the trees to move. With a long exposure, that movement results in blur, which potentially spoils the photograph. In this situation, the only real solution is to create two images, one exposed for the movement of the water and one exposed to freeze the movement of the trees, and to blend the two in Photoshop. Sun - In bright sunlight the “white” of the flowing water will almost certainly blow out, resulting in a total loss of detail and irrecoverable highlights. Correcting the exposure value to compensate for this may result in blacks/shadows being clipped. The answer is simply to avoid shooting in bright sunlight. Spray - Wind can often blow water towards you, or you may just be standing too close to the falls to avoid it. Spray on the front element of your lens will obviously ruin the photograph. It may be that you have to return to the scene on a windless day to best capture the scene. Rain - Heavy rain can fill a small waterfall with so much water that it is almost impossible to create the desired ribbon effect, and the water invariably resembles a thick white mass. In these circumstances, it is best to avoid shooting soon after rainfall, though as ever there are exceptions. Some waterfalls only reveal themselves after heavy rain, for example on mountainsides in Fiordland and Mount Aspiring National Park; other large falls such as Devil’s Punchbowl in Arthur’s Pass and many in Doubtful Sound and Milford Sound look their best when full of water.

Break the Rules! It is not always the case that the silky, ribbon-like effect is best for a waterfall shot. The power and force of a big waterfall can often be more effectively conveyed by “breaking the rules” and capturing the movement of water by freezing it, using a faster shutter speed. Take a look at these two images of Salt Creek Falls in Oregon, USA. The first was exposed for 1/25 seconds at f/16. The second exposure was 0.5 seconds at the same aperture. The effect on the flow of water is obvious, but which one best conveys the size, power and presence of these falls best? Does the “silky” look still work, or is the freezing of the motion more expressive of the power of the waterfall? This, of course, is a question of personal preference.

Conclusion We have many beautiful, easily-accessible waterfalls in New Zealand, and probably hundreds of others hidden away, seen only by a few humans. They enjoy a special place in landscape photography and can be among the most pleasing of all subjects. Like everything, practice makes perfect, and don’t be afraid of experimenting! Neil Protheroe is a professional landscape photographer and workshop tutor, with Picture This Photography Weekends. Visit www.picturethis.kiwi

PSNZ Queenstown Landscape Workshop with Meghan Maloney - By Kelly Munro APSNZ With Meghan Maloney as our tutor and guide, twelve keen landscape photographers set out for a weekend of fun, food, photography and entertainment ̶ and we were not disappointed. The workshop began with a presentation by Meghan on making great photographs and using filters to improve our photos in-camera. The weather in Queenstown was overcast but when Meghan was demonstrating some local webcams during her presentation we discovered that the Glenorchy end of Lake Wakatipu had clear skies with some high cloud, so we headed down the Queenstown-Glenorchy road for a sunset shoot. The Tongan volcano effect came into play after sunset and we were treated to a lovely afterglow in the sky. Unfortunately, the rental van broke down after sunset, leaving some of our group stranded in the dark beside the lake with limited cell phone reception. The rest of us made our way to Fergburger to order food for everyone. 45 minutes later, with burgers in hand, we headed back up the lake to feed our stranded friends. Saturday morning involved an early start as we drove up to a somewhat frosty Glenorchy for sunrise. The lake was relatively calm so we were treated to some nice reflections. After sunrise we headed to the Glenorchy Hotel where we enjoyed a delicious breakfast to feed our hungry crew. Then it was off to Paradise, literally. We spent several hours photographing in the beech forest, with great conditions for making “sun-stars”. After an afternoon tea break at the Glenorchy Hotel, we headed towards Lake Hayes for a sunset shoot. Once again, the Tonga effect came into play and there was a nice pinky glow in the sky following the sunset. Despite the forecasts, we had some great weather and were treated to an amazing sunrise over the Queenstown lakefront on Sunday morning. The sunrise was so vivid it was a case of having to desaturate it in post-production. After sunrise, we returned to the motel to pack. Most of us celebrated with brunch before bidding farewell.

Stack Glenorchy composite, Emma Hissey LPSNZ

PSNZ Queenstown Landscape Workshop with Meghan Maloney - By Emma Hissey LPSNZ Sandwiched between two weather bombs, the timing for the PSNZ Landscape Photography workshop with Meghan Maloney couldn’t have been more perfectly timed. Thirteen eager photographers met at Pinewood Lodge on the afternoon of Friday 15 July. Our unassuming accommodation had spacious six-bedroom units and ample communal space. After an introduction to Meghan's approach to landscapes, we made a (very) last-minute decision to head towards Glenorchy. Given the near 100% cloud cover in Queenstown it turned out to be the right decision, and we found a “pull-out” just past Bennett's Bluff lookout to settle in for the evening.

And settle in we did. After a moody sunset, complete with a “second sunset” due to the Tonga effect (volcanic remains in the atmosphere from the Tongan eruption earlier this year), our quirky van decided it was done for the night. Cue Kumbaya and storytelling (did you know we have a PSNZ member who is also a rally car driver?) to pass the time and distract us from the cold while we waited for a jump start. Knowing that our Ferg Burger dinner, courtesy of “Ted’s Eats” was on its way, helped keep spirits up too! Given that Glenorchy had delivered the weather goods on Friday night, we were straight back out to the wharf for sunrise. Moonrise coincided, so we were able to capture some near full moon shots as she made her descent behind the mountains. But by gosh it was cold! When we could no longer operate our cameras due to numb fingers, dethawing and breakfast in front of the fire at the Glenorchy Hotel was in order. Hot chocolates at the Glenorchy Hotel were a particular hit with the group!

Not content that Glenorchy was sufficiently paradisal, we continued on. Our poor wee van wasn’t capable of making it to Paradise, but we certainly found some cracker vistas en route! This included gnarly trees and epic mountains, and beech forests for some sun starburst action between the branches. We followed this with sunset at Lake Hayes before tacos and tutorials. This practical workshop was interspersed with informative sessions. Although participants had varied photography experience and ability levels, there was something new for everyone in Meghan’s slides – from using filters, composition tips, editing techniques and Lightroom shortcuts to planning your shoot using Photopills and a variety of weather apps. At sunrise the following morning we then had one last chance to put our learning into practice. We predicted it was either going to be a clanger or an absolute banger; I’ll leave the images to speak for themselves. It was an absolute high on which to end the workshop! A huge thanks to Meghan Maloney, Brian Rowe LPSNZ, Nicole Tai and the PSNZ committee for orchestrating this weekend. It’s safe to say that everyone enjoyed it – with a 10/10 recommendation! 27

PSNZ Coromandel Landscape Workshop with Meghan Maloney - By Brian Karl LPSNZ After two Covid postponements last year, it was a great relief that this workshop could finally go ahead. I had been very much looking forward to the weekend ̶ and I was not disappointed. Meghan Maloney creates beautiful work and her workshop style is inspiring. Karen Moffatt-McLeod APSNZ kept us fed and well organised ̶ what more could we wish for? This two-day landscape photography workshop was based at Tairua on the Coromandel Peninsula. There were three classroom sessions and three photo shoots. On Friday afternoon fifteen of us gathered at the Tairua Community Hall for introductions and a presentation from Meghan. It included useful information on filters for use in landscape photography.

With rain clouds gathering we headed to Flat Rock, Pauanui, for a sunset shoot. Most of us managed to get a couple of shots on either side of the rain which chased us to shelter under the trees! Back at the hall, we spent the rest of the evening editing, with input from Meghan, and then enjoying pizzas. We were very fortunate with the weather on Saturday morning. The sunrise outing to the north end of Tairua Beach was dry and not cold. Everyone managed to bag a few good shots before we met back at the hall for more instruction and editing. And more good food sourced from the local café! The final session was in the Karangahake Gorge but the weather was not looking great. When it was time to leave Tairua the sensible ones, and those with further to travel, headed home. I wasn’t one of them, and I joined Meghan with three others in the gorge.

We started at Owharoa Falls which had reasonably high volumes of water flowing, probably too much for the best photos, but we made the most of it. Generally, overcast conditions are preferred for waterfall photography anyway. About 4:30 pm we all went our separate ways, happy with our two days' work. I confess that I did sneak in to take a few photos of the Ohinemuri River before heading home. I couldn’t help myself. Thanks again to Meghan and Karen for all their time and a big thanks to PSNZ for supporting workshops like this. The opportunity to learn from experienced photographers and to have immediate practice is invaluable. 29

PSNZ Coromandel Landscape Workshop with Meghan Maloney - By Linda Mannix Finally, after two postponements, Meghan Maloney’s Landscape Photography Workshop was actually happening. The forecast was not good, with rain predicted, but we headed to Tairua with a sense of excitement. After introductions and an informative presentation, we were on the road to Flat Rock for our sunset shoot. Heavy, threatening, dark clouds loomed over the hills and, as two of us were lagging behind the others, we decided to set up on the beach. This was not a wise move. While those at Flat Rock hid under the trees and managed to take photographs of those rocks, there we were ̶ out in the open as the rain poured down. No photos for us the first night! We headed back to dry off, arriving in time for scrumptious wood-fired pizzas. Delicious! Most had their computers out and were checking their photos. I had photo envy. It was an evening of knowledge. I learnt so much about Lightroom that on returning to the motel I spent until midnight applying that knowledge to some of my photos. Next morning, determined to get sunrise pictures at Tairua Beach and ignoring the rain, we headed to the beach. Fortune was on our side; the rain disappeared, the clouds lifted, and blue skies and the sun made a welcome entrance. Under Meghan’s patient guidance, I managed to get some photos. Next stop, the Manaia Café for a well-earned breakfast. Next it was back to the Tairua Community Hall to edit our photos, applying the knowledge we had picked up the previous evening. In the group I was sitting with, I saw some fantastic images. Karangahake Gorge was on the afternoon itinerary but the rain had made yet another appearance, making the thought of photographing Owharoa Waterfall unappealing. I decided to make the decision at Waihi . Do I turn left or right? Once again the weather was on our side and blue skies accompanied us all the way to Waihi. I turned right ̶ and what a great decision that was! Only a few of us turned up, perfect because it meant that Meghan could spend even more time assisting me. Well not just me, the others as well. What a magical waterfall, in full flow. What did I get out of the workshop? Knowledge and understanding: which settings to use for landscape photography, how to use neutral density and polarising filters, and why it is helpful to use them. My Lightroom editing skills have expanded immensely and, most important, keep an eye out for the light! Thank you Meghan, for your knowledge and enthusiasm. Thank you, PSNZ, for organising this most enjoyable workshop.

South Island Astro Photography Workshop By Simon Forsyth

Twelve participants, along with a PSNZ representative, met at the Lake Tekapo Holiday Park on 27 May for the Astro Photography Workshop run by Joseph Pooley. Joseph began by giving us a thorough presentation of the basics of the subject, including the different types of photography used. Following this, we gathered our gear and met by the Church of the Good Shepherd, planning to capture the Milky Way over the church. We were treated to excellent weather with a cold but cloudless sky throughout the evening, and we all managed to obtain some excellent shots around the church. Headlights from cars driving by were a little annoying but fortunately, there weren’t many! We finished around 10:00 pm and returned to our motel units to process our work. Saturday was a free day to explore the Tekapo area as we wished. Some went further afield, as far as Mount Cook. We regrouped at around 5:30 at the Blue Lake Eatery for a meal and catchup. The food and company were excellent! Joseph gave us the option of changing the plan for the night's shoot as there was an excellent chance we would get to see the aurora. We decided that we would do this instead of the planned shoot near the lakefront. After dinner, we gathered our equipment and drove to Mistake Drive and after a short walk we were able to see the aurora. It was quite difficult to see. I found that the naked eye couldn’t see much colour due to our night vision relying on the rods which don’t see colour. With the aid of digital imaging in our cameras, we can quite easily get spectacular images that we can’t see unaided. We spent two and a half hours photographing the aurora and we got some great images. I wish we could have required oncoming vehicles to turn their lights off, but such is life! Apart from the PSNZ Rep (me!) forgetting the hot drinks on Friday evening and the thermos breaking on Saturday evening resulting in no hot drinks, just some biscuits, we all seemed to have a good time and learnt something, I am sure. On Sunday morning we departed for home, apart from at least one who decided to stay another night to explore the area. I would like to thank the instructor, Joseph, for his knowledge and patience with us; we all had different levels of photographic skills. I highly recommend this workshop to anyone wishing to learn about Astrophotography ̶ with Joseph as an instructor!

35th FIAP Black & White Biennial, 2022 The FIAP Biennial is a competition organised by FIAP for all member countries. It alternates between a colour PI salon (20 images) one year and a monochrome print salon the alternate year. Despite Covid restrictions this year, the 35th FIAP Black & White salon went ahead and was judged in Oman. The print sets consist of 10 prints which are viewed as a set but must also look balanced and cohesive. We had already collected submissions from members for the 2020 B&W Biennial but that salon was cancelled because of Covid. The images were saved for the next B&W Biennial which is held this year. The selectors, Ian Walls FPSNZ and Mike White APSNZ spent many hours shuffling images around to choose the best set that would work together and showcase New Zealand internationally. The final score is comprised of two parts:1) The scoring of each image of the set, by three judges, each from different countries and each scoring 1 to 5, making a total possible score of 15 and 2) The global judgement of the set. This is scored on the set's flow and cohesiveness. (NZ gained 6th place for cohesiveness, with a score of 37 out of a possible 60.) Both scores are combined for the final result and position. We gained 13th place from 46 countries entering.

PSNZ also recognises the scores gained by the authors of the NZ entry. • David Skinner LPSNZ gained the highest (New Zealand) personal score for his image, Shinobue Flautist. • Bill Hodges APSNZ EFIAP gained 2nd highest (New Zealand) personal score with his image, Illegal Fend. • Liz Hardley FPSNZ EFIAP/s EPSA LRPS with The Catch, and Chris Conroy with Headless One-Armed Shot Putter, shared the 3rd highest (New Zealand) personal score.

A big thank you to the selectors and all who submitted their images for consideration. Without your participation, none of this would be possible. I look forward to next year’s competition which will be for Colour PI again, with a subject yet to be decided. Remember also that any image scoring 8 or more qualifies for an acceptance when applying for FIAP distinctions. FIAP number 2022/997. (Qualifying authors have been notified of their scores.) Our set: Recreation

PSNZ Judge Training, 2022 An update from Shona Jaray APSNZ A judge training weekend was held in Orewa, on Auckland’s Hibiscus Coast, in June this year, with 23 people attending. In the past, judge training weekends in main centres have been oversubscribed and we have ended up with a waiting list – we limit the class size to 30 people for practical reasons. Reluctance to participate due to the risks of Covid is a likely explanation for the lower numbers at the Orewa event. The Taupō Judge Training was to have been held in July, but reluctantly the decision was made to cancel due to Covid infections ramping up again and the fact that fewer than 15 people had registered – ideally, we like to have at least 20. According to Our World in Data (https://ourworldindata.org ) New Zealand currently ranks in the top five worldwide for per capita new cases daily of Covid. This is of significant concern when organising a weekend workshop held indoors in a confined space with up to 30 people, many of whom are categorised as being at higher risk. Because of this, we will be piloting the Christchurch Judge Training weekend, scheduled for September, as an online event. The existing in-person format for judge training workshops cannot be turned into an online event without some changes, and we are currently working on adapting the format. We have deliberately limited the number of participants in order to ease the transition to the new format. It is highly likely, at this stage, that the planned Dunedin Judge Training weekend scheduled for October will also be held online.

Top row: Bill Hodges - Illegal Fend Ron McKie FPSNZ MAPS ARPS EFIAP - Everlast Scott Fowler FPSNZ EFIAP EPSA GPSA - Touch down Jan Macpherson LPSNZ - I Can Fly Jay Drew APSNZ - The Wave Jumpers

Bottom row: Chris Conroy - Headless One-Armed Shot Putter Karen Moffatt - McLeod APSNZ - Huntress Liz Hardley - The Catch David Skinner LPSNZ - Shinobue Flautist Graeme Skinner LPSNZ - Gentle hands

Regional Conventions Set to Return in 2023 Get ready for the return of two regional conventions for 2023! After a long hiatus, thanks to the Covid pandemic, the Photographic Society of New Zealand (PSNZ), will host a Southern and a Northern Regional Convention next year. In addition, the National Convention is scheduled for later in the year, in October. The Southern Regional will be held on 8 and 9 April at Lincoln University with generous assistance provided by the Ellesmere Camera Club. The Northern Regional will be held on 6 and 7 May in Whangārei, with assistance from the Whangārei Camera Club. The venue for this regional is not yet confirmed. PSNZ Councillor for Events, Toya Heatley FPSNZ AFIAP, says she and her event committee are excited about the prospect of returning regional conventions to the members. "Regionals have always been known as the more informal of the PSNZ conventions, with the emphasis on having fun, friendship, networking and getting out and about," said Toya. "The committee has been working hard in selecting venues that suit the style of our conventions, thinking outside the box in terms of researching ‘the talent’ and inviting a selection of New Zealand photographers to join the programme. I’m confident our members will enjoy returning to a weekend regional convention and supporting one component of PSNZ’s vision of helping photographers grow." While the content of the programme for each convention is still being developed, with the dates confirmed, members interested in attending should at least be able to start making and booking their travel plans, explained Toya. To keep abreast of the programme and development of each convention, go to https://regional.photography.org. nz/ The page will be updated as soon as more details are finalised. Keep an eye out for bulk emails with key announcements.

FIAP Distinctions, 2022 It’s now close to the time when I will be sending all completed dossiers to FIAP. If you haven’t yet sent me your spreadsheets (whether completed or not), please do so now and I will check that everything is okay. The cut-off date for having your dossier complete and ready is Friday 26 August, in time for me to collate everything to send to FIAP by 1 September. Ann Bastion Hon PSNZ FPSNZ EFIAP MFIAP FIAP Coordinator

PSNZ Honours: New Submission Dates As the PSNZ National Convention will be held in October from 2023, the Honours Board has changed the submission dates and the dates for assessment. In 2023. Honours submissions will open on 18 June and close on 31 July, with assessments held in August. These changes will be updated in the Honours section on the PSNZ website once the guidelines have been reviewed. Stephanie Forrester APSNZ Secretary PSNZ Honours Board

Welcome to Our New PSNZ Members! Margie Coplestone Johannes Brienesse Michael Lie Paula Rowe Neil Protheroe Cherie Engelbrecht David Morley Neil McGregor Stephanie Young Martin Barwood Brenda Pinfold Malcolm Pinfold Chris Page Kelly Haybittle Brian Haybittle Ainsley Massarotto Fliss Morey Robert Green Maria McLean

PSNZ HONOURS RESULTS 2022 Congratulations to members who achieved new photographic honours this year! These successes will be celebrated at honours dinners to be held in Hamilton and Christchurch later in the year. FELLOWSHIP DIGITAL Toya Heatley FPSNZ AFIAP Shona Kebble FPSNZ FELLOWSHIP PRINT Trish McAuslan FPSNZ EFIAP/b FAPS AV-AAPS ASSOCIATE DIGITAL Jo Broadhead APSNZ Allysa Carberry APSNZ Janice Chen APSNZ Paul Conroy APSNZ Lorraine Gibb APSNZ Perry Hoffman APSNZ Jill Jackson APSNZ Chris Long APSNZ Deborah Martin APSNZ Gary McClintock APSNZ Karen Moffatt-McLeod APSNZ Jiongxin Peng APSNZ AFIAP Paul Whitham APSNZ ASSOCIATE PRINT Mark Burgess APSNZ Keith Harrison APSNZ Barry Mahon APSNZ ANPSNZ LICENTIATE DIGITAL Lakmal Athapatthu LPSNZ Patricia Bailey LPSNZ Graham Bailey LPSNZ Graham Bartleet LPSNZ Kate Beauchamp LPSNZ Tulipa Briggs LPSNZ Karen Camp LPSNZ Malcolm Carlaw LPSNZ Peggy Carlaw LPSNZ

Thyra Colsell LPSNZ Peter Cox LPSNZ Sheree Davidson LPSNZ Sharlene Dempsey LPSNZ Ian Douglas LPSNZ Tarsh Harris LPSNZ Emma Hissey LPSNZ Jack Horlock LPSNZ Richard Hornell LPSNZ Greg Hughson LPSNZ Gaynor Hurst LPSNZ Donna Jennings LPSNZ Margaret Jones LPSNZ Jackie Lowry LPSNZ Gillian Maclean LPSNZ Paul Mason LPSNZ Ross McIvor LPSNZ Janet Natta LPSNZ Sandy Odell LPSNZ Helen Oliver LPSNZ Jong (Annie) Park LPSNZ Christopher Robinson LPSNZ Leanne Silver LPSNZ Nichola Smith LPSNZ Gordon Speed LPSNZ Richard Spencer LPSNZ Judith Swan LPSNZ Paula Vigus LPSNZ Mike Vincent LPSNZ Randy Weaver LPSNZ Maree Wills LPSNZ Kirsty Wilson LPSNZ QPSA Ian Yeoman LPSNZ LICENTIATE PRINT Evarist DeSouza LPSNZ Carole Garside LPSNZ Brian Hardgrave LPSNZ Susie Hare LPSNZ Gina McGauley LPSNZ Deborah Stokes LPSNZ Joanne Yeoman LPSNZ

PSNZ Members' Webpages Annette Johnston FPSNZ My website is an eclectic mix of photographic work across a number of genres. You can visit galleries on flowers, monochrome, landscapes, water drop photography and much more. I offer a variety of workshops and am available for camera club presentations. My personal work is best recognised by its simplicity and, I hope, harmony. www.heddfan-photography.net

Daniel Wong APSNZ EFIAP A selection of landscape photography from New Zealand scenes. www.danielwongphotography.com

Helen Wilkin FPSNZ I'm photographing 40 women ̶ in their 40s, 50s and 60s plus in 2022, for an exciting exhibition project of empowering women of any shape, size or colour. Ordinary women will be empowered and transformed with hair and makeup. They will be the best version of themselves, then photographed in a magazine-styled way, then presented back to themselves. This will boost their confidence and they will be amongst other women who see themselves in a different light. www.helenjoy.photography/40over40

Mike Wilson Riverhead Photography's website features bird, wildlife and nature photos, all taken by Mike Wilson. Photos are available for purchase as are eco-friendly greeting cards which feature photos of New Zealand birds. Money from the sale of these cards goes towards supporting BirdCare Aotearoa. www.riverheadphotography.co.nz

Paul Conroy APSNZ I offer courses in camera techniques, post-production and design theory. PSNZ members receive 10% discount with code PSNZ10. Aucklandphotographyworkshops.nz

Paul Willyams APSNZ AFIAP MNZIPP The front page highlights my best work under four topics. The menu on the left takes you to dozens of folders and galleries from my travels and interests such as birds. What you can't see are the secure folders I share with my clients. This site was built using SmugMug and is synched with Lightroom ̶ very easy to manage. www.PaulWillyams.Photo

Roger Shearer A visitor to our website will see the winning images from that month's competition and Galleries of Honours images from the most recent competition and previous competitions going back three years. They will have access to pages showing our meetings and workshops as well as our competition rules. There are also About Us and Contact Us pages for anyone interested in joining our club. https://hcpc.org.nz/

Tony Whitehead A range of photographic genres including wildlife, landscape and street photography, but with a major obsession with birds. A weekly blog post on matters photographic with an archive of over 500 blog posts, including reports on visits to Antarctica and the New Zealand Subantarctic Islands. www.tonywhitehead.com

Audio-Visual News By Trish McAuslan FPSNZ AV-AAPS EFIAP/b FAPS PSNZ Audio-Visuals Coordinator

Tauranga Audio-Visual Salon Once again we had a great weekend, enjoying AVs from around the world. This year seventy audio-visuals were entered from nine different countries. Congratulations to the following PSNZ members: Bob McCree FPSNZ was the most successful NZ entrant, gaining acceptances for two of his sequences: • An Ode to White Island was an ode to White Island and all the people who died there in December 2019. • Art Deco-ed Out was a tribute to all those people who enter into the spirit of the annual Napier Art Deco weekend. Gail Stent gained an acceptance with Library Point: Past and Present, about the History of Library Point, where Gail takes her dog every day. Kurien Yohannan (Koshy) gained an acceptance for Hatupatu, a memoir of a wildlife photographer who was allowed into the life and love(s) of an adult male New Zealand Falcon (Kārearea). Karen Lawton gained an acceptance for Sojourn. In the midst of intense personal upheaval, Karen was offered an escape – Muriwai Beach mid-winter, with all the wind, waves and solitude that implies. Trish McAuslan gained an acceptance for The Commander Islands which is about a small group of islands in the Bering Sea, off the east coast of Russia. A YouTube programme featuring these successful AVs is available in August. This programme is unlisted, so you will need the link sent to PSNZ members earlier this month. It’s also available by contacting Trish McAuslan (mcauslanav@gmail.com). Please respect the authors of these AVs and do not post the link on a social media platform.

Jack Sprosen Memorial Trophy Competition Firstly a little history. The competition started in 2007 with a February closing date. However, February was a very busy month for photographers, with the National Exhibition and PSNZ Honours closing as well. It wasn’t long before we decided to shift the Jack Sprosen Memorial Trophy Competition to the end of the previous year, with the trophy and awards presented at the next National Convention. This means that we have already held the JSMT competition for this year. With the next convention not until October 2023, it makes no sense to hold the next JSMT in October this year and then wait a year before presenting the awards. It is taking time to sort out the competition timetable for next year which, for us, includes the timing of both the Tauranga AV Salon and the JSMT. However, I do expect the next JSMT to be held sometime in 2023. Instead, I am encouraging everyone to create an AV to enter into the South African Theme Competition which is free to enter. This AV could also be entered into the next JSMT, so that makes it even more worthwhile.

South Africa 2022 Theme Competition: Glass Entry into the competition is free. You are limited to entering one AV into this salon. Entries close on 29 October 2022. Here is publicity information for this competition. Photographers are encouraged to explore the photographic medium and to use it to communicate their personal vision, incorporating feeling, senses and imagination, to the viewer. The photography is not restricted in any way, neither in subject matter nor in manipulation during the taking or reproduction stages of the photography, provided that it addresses the theme of Glass in some way.

Irish Photographic Federation’s Open International Competition This competition is being held as an online competition at the same time as their national competition and is open to anyone. Entries close on Friday, 23 September 2022. Here are the main rules: 1. All entries must be in mp4 format. 2. It is expected that the sequence production will be the original work of the entrant(s), author(s) and collaborators. 3. The maximum length is set to 12 minutes. 4. The entry fee is €10.00. Only one entry is allowed. If you would like more information, contact: Trish McAuslan (mcauslanav@gmail.com) or Lillian Webb (ipfavgroup@gmail.com)

Art Deco-ed Out by Bob McCree FPSNZ

New Zealand’s First National Portrait Salon By Paul Byrne FPSNZ ARPS AFIAP Portrait photography must surely be one of the oldest genres of photography. It must also be the single most popular subject photographed by humans across our planet. This is in large part due to the mobile phone era and the advent of “selfies”. Early cave dwellers made crude rudimentary drawings of themselves and their activities on the walls of their rocky homes. These usually depicted information about their lifestyle. It also provided historians with valuable information about their weapons and the kind of animals they would hunt for food. Many years later, as the human race evolved and pigments became sophisticated paints, artists developed more realistic images and 3D forms with detailed information, textures and shapes. Royalty and affluent members of society queued up to have images of themselves painted for posterity. Some artists made a reasonable living by painting small intricate portraits onto lockets and pendants. Often these were used by loved ones as tokens of devotion or mementoes. When the camera was invented it revolutionised the way humans recorded activities. It also changed the way we see ourselves and others. As photographers, we have learned much from the world of art. We frequently use terminology which is relevant to both: e.g. composition, lighting, focal points, form, etc. There are considerable similarities between the results of artists who paint canvases and the work of photographers who make and record images. Both are regarded as “art forms”. The Photographic Society of New Zealand, together with the many affiliated photographic clubs which it represents, have organised events, competitions and salons to promote improved photographic outcomes for their members. Salons are used to display exceptional imagery and talented photographic works. In New Zealand, we have salons representing most genres of photography but, for some inexplicable reason, portraiture has never featured as a salon or competition in its own right. The Tauranga Photographic Society plans to rectify this oversight by offering all photographers the opportunity to enter New Zealand’s first dedicated Portrait Salon. The salon will open for entries on Sunday, 4 September 2022 and will close on Friday, 30 September 2022. Results will be available on or before Sunday, 23 October 2022. For the Inaugural salon, two sections will be available. Section 1 will be for PORTRAITS of human beings. (Sorry, no animal or wildlife portraits will be permitted in this section.) Section 2 will be OPEN, and any subject matter or genre may be submitted in this category.

Salon Guidelines Section Guidelines: • Portrait: People are fascinating subjects to photograph. They have the power to shape the world around them. A portrait can symbolise character, importance, power, beauty, weakness, and innocence. The identifying characteristic is the human element, and conveying this through the image is what can make a truly incredible portrait. The portrait category is broad in scope. It considers a wide variety of portraiture, from posed studio photography to environmental portraiture, candid portraits, self-portraits, composite imagery, to abstract portraits that may even be difficult to identify as human. Entrants are encouraged to submit emotive and original portraiture that captures the essence of their subject. Although we accept imagery that has been entered in other competitions, we would love to see new ideas in original work. N.B. In this instance, “Portrait” refers to “Humans” only. • Open: Anything goes: any subject, any style, in colour or monochrome. In future years it is likely that the portrait section will be further subdivided to separate styles of portraits: for example, studio, individual, group, wedding or street portraits. This detail has yet to be decided and will be dependent upon the outcome of this year's event.

Prizes and Awards The Champion Portrait Image will be awarded a $1000,00 gift voucher sponsored by BBCM (Bay Building Compliance Management). The Champion Open Image will be awarded a $500.00 gift voucher, redeemable at Carters Photographics, Tauranga. We look forward to receiving your entry. Full details of the Salon can be found here: Visit this Link

PSNZ Canon Online Photographer 2022 Round 3 Results By Paul Willyams APSNZ AFIAP MNZIPP, Canon PSNZ Online Coordinator

Congratulations to Liz Hardley, winner of the Canon Online round 3 for 2022. There were 160 entries in this round. Liz writes about her winning image: ‘I have been entering the Canon Online competition for many years, and although I have placed several times, I have never previously won a round, so I am delighted to have finally achieved what has been a longtime goal of mine. ‘My image was created specifically for the Auckland Photographic Society’s February monthly challenge: Old and New - juxtapose the old and the new to create a comparison or a contrast. I enjoy compositing (usually surreal) images to create stories, and I came up with the idea of depicting an imaginary meeting between a medieval plague doctor and a modern doctor. The two doctors have similarities, e.g. they wear gloves and masks, but they are also obviously different, e.g. to treat their patients the plague doctor uses medicinal herbs and the modern doctor uses vaccines. ‘I initially made a rough sketch, using pencil and paper, to work out the image composition. It would be very simple, dominated by the two doctors, with an atmospheric, somewhat gothic background. I already had images of dark skies, birds and graves in my back catalogue, which I could utilise for the background, so it was then “just” a case of shooting the two protagonists. My long-suffering partner/model Glynn obliged by dressing up as both doctors for me and then posing in the positions from my original sketch. The herb was a sprig of rosemary, sourced from the garden. Once I had all the required images it became a matter of postprocessing in Photoshop, compositing the images using layers and blending modes and colour grading until I achieved the effect I wanted ̶ which as usual took much longer than intended! ‘I first became a “serious” photographer in the eighties in the UK when I bought a Minolta x500, and loved working in the old darkroom days. However, when I came to New Zealand in 1995, photography took a back burner until 2006 when I joined the Auckland Photographic Society (APS) with a newly acquired digital Nikon D70s. Sixteen years later I am an enthusiastic APS committee member and now primarily use a mirrorless Nikon Z7ii for taking images. 'Photography for me has always been and continues to be an enjoyable hobby, having never been interested in pursuing it commercially. While I enjoy making composites like “A Tale of Two Doctors”, I also gain a lot of pleasure tackling most genres, and as I am motivated by competitions I can readily be found taking pictures of insects one week and architecture the next ̶ a jack of all trades. Since gaining my FPSNZ in 2010 my focus has switched to gaining international distinctions within FIAP and more recently within PSA. I am also a passionate advocate for printmaking and sincerely hope that prints will survive the digital age.’ The judge for this round was Elizabeth Passuello FPSNZ FNPSNZ MAPS EFIAP EPSA. Elizabeth is a life member and past president of the Greymouth Photography Club and has been a member of PSNZ since 1987. A keen entrant in regional and national photography exhibitions since joining PSNZ, she began entering internationals in 1996 and has won numerous awards at all levels. Elizabeth has been a PSNZ accredited judge since 1995 and, since 2020, has been judging in international exhibitions. In January 2019 she began volunteering as a Star Ratings Coordinator and Star Ratings Director with the Photographic Society of America, enjoying the contact with photographers from around the globe.

1st - A Tale of Two Doctors by Liz Hardley FPSNZ EFIAP/s EPSA As with other judges who have been asked to select the top 10 images in this competition, I found choosing the final 10 came with making some hard choices. When I first received the images I narrowed it down to the top 15, based on first impressions. After a few days' break, I repeated the selection process to see if those first impressions had changed at all; there were a couple of minor tweaks to the selection, but mostly my initial selection did not alter much at all. Then came the difficult task of refining that selection to just 10 images. It was a close call, as each one had many good points, making it worthy of consideration. I looked for visual and/or emotional impact, strength in the story-telling and whether or not the technical aspects of creating the image were well handled.

... PSNZ Canon Online. Awarded Photos

2nd - Washed Up by Jay Drew APSNZ I was immediately drawn to the moodiness and drama of this photograph. The low viewpoint accentuates the lead-in lines of the surf drawing you into the image, while the washed-up tree nicely connects the sea and sky by breaking through the horizon line. The dramatic sky and sombre tones in the image give a sense of foreboding. There is much to enjoy in viewing this excellent photograph.

3rd - Framed by Rebecca King LPSNZ I was instantly taken by both the simplicity and the idea behind this image. The framing effect is well done and brings creativity and uniqueness to the work. The simple colour palette is striking and the use of a black background allows the subject to stand out. I loved everything about this image. 50

4th - Agapanthus Buds by Eva Petro This subject is well suited to its presentation as a triptych. The muted tones complement the overall work, giving a delicate and artistic feel. I felt this entry was very deserving of a place in the top ten.

5th - Matariki Wahine by Karen Moffatt-McLeod APSNZ The lighting in this image is beautiful, enhancing details and bringing depth to the image. The muted tones in the background allow the model to stand out and are complementary to the overall image.

...PSNZ Canon Online. Awarded Photos

6th - The Beat Goes On by Dianna Hambleton APSNZ I love the creativity used in this photograph to emphasise the movement, action and rhythm. The expressions on the faces, together with the red, white and black colour palette, complemented by warm tones, make this image vibrant and full of life. It brings a sense of fun and joy.

7th - Bush Fire by Sue Riach APSNZ ARPS AFIAP The use of just two tones, especially the warm tone, gives this image instant impact. The title conveys the author's interpretation to the viewer... and it certainly works well, being imaginative and creative. The differing sizes of the “trees” give a sense of depth. I enjoyed this image very much.

...PSNZ Canon Online. Awarded Photos

8th - Through my Window by Barbara Lee APSNZ I was instantly drawn to the use of the birds overlaying the triptych, thus linking the three images together and allowing the viewer to follow the path of the birds from left to right. The gentle movement in both the birds and the sea, along with the pastel colour palette, brings a sense of calm.

9th - Sparkling Water by Anita Ruggle-Lussy This image is vibrant, creative and dynamic. The sparkling effect behind the glass brings the image to life, both by the use of colour and creativity. It has an instant impact on the viewer and I was instantly drawn to it. Keep up with the great ideas.

10th - High Tea by Pauline Smith APSNZ The soft tones and pastel colours in this work bring a sense of both femininity and delicacy, and the softness of the diffused effect complement this. I find the composition keeps the viewer's eye contained within the image and on the centre of interest.

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