Janet Munnings m. 022 163 0379 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
NEXT CAMERATALK DEADLINE
25 September 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 the cover:
Rising Star by Mark Burgess APSNZ
CameraTalk is the official magazine of the Photographic Society of New Zealand (PSNZ), largely written by members of PSNZ, for anyone with an interest in photography 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.
Please also note that we would love you to share CameraTalk with anyone with an interest in photography. You can find the current and previous issues at https://photography.org.nz/events-andpublications/cameratalk/
Regards
Paul Whitham APSNZ Editor
President's Piece
By Caroline Ludford LPSNZ ANPSNZ LRPS
I hope that this message finds you well and thriving in your photographic endeavours. As President, I am excited to share with you some updates and, more importantly, a heartfelt call to action.
Engagement within the PSNZ involves fostering a vibrant, inclusive and dynamic community where members feel valued and motivated to participate.
Over the last year, the PSNZ has hosted inspiring workshops, held the National Convention in Hutt Valley and associated salons. We continue to showcase the incredible diversity and talent within our society. As part of this we provide opportunities through 4 Nations, the Sony Digital salon and of course the Canon Online competition run bi-monthly across the year.
What does PSNZ do for you?
• We welcome new members with a personalised introduction pack. We offer those new members mentors who can introduce them to the Society, answer questions and help them get involved.
• We run an amazing specialised, topic-based workshop series for members.
• We have discounted rates to PSNZ activities, including the PSNZ National Convention and Salon.
• The opportunity to achieve a Society distinction (honours) at Licentiate (LPSNZ), Associateship (APSNZ) and Fellowship (FPSNZ) level.
• All members have the opportunity to submit two images for selection in our
showcase publication, New Zealand Camera.
• We have a bi-monthly Canon Online competition for members (free of charge), 4 Nations (free of charge) and the FIAP colour and monochrome interclub competition (free of charge).
• The opportunity to participate in regional club meetings and events.
• A digital copy of the bi-monthly members magazine CameraTalk, with the latest news, events and photography from our members.
• The opportunity to see your work, presented alongside that of your peers at the PSNZ Sony National Exhibition and regional salons.
• Subsidised access to the judge training workshops through the Judge Accreditation Programme.
• Ability to promote your own personal website on the PSNZ website.
• Product information, savings and discounts when they are offered by our corporate partners, and other special offers provided to PSNZ.
• Discounts for some NZIPP events as a PSNZ member.
I recently held a Zoom meeting with many of our affiliated club Presidents. I was delighted that so many made the time to join me and other PSNZ Councillors to discuss where we go from here. Their input was helpful and welcomed.
Enhancing communication was one of the matters we discussed.
You may ask how PSNZ communicates with our members currently.
• A Members Only Facebook page, along with a non-members Facebook page
• an Instagram page
• a monthly newsletter that is sent out to affiliated clubs
• regular updates via email
• our bi-monthly CameraTalk magazine, and
• the PSNZ website
How do you as members communicate with PSNZ?
The PSNZ Council actively encourages members to share any contributions and ideas that they may have. We have previously sent out surveys via email in order to canvas member satisfaction, and to gather feedback along with suggestions for improvement.
Disappointingly, only 13% of members completed the last one. I would love to interpret this as a high degree of satisfaction with what we provide, but I honestly believe there are many more ideas and suggestions sitting in the minds of our members – and we would love to hear them.
My goal is to lead a Council that engages with all members and which results in a vibrant, engaging community where members are actively involved, feel valued and are excited to participate in the Society’s activities and initiatives.
I’ve recently been given a sneak peek at this year’s edition of NZ Camera. It is a testament to the passion, creativity and dedication of our members.
None of these achievements would have been possible without the tireless efforts of our volunteers. From organising events to managing communication and supporting our operational needs, volunteers (including but certainly not limited to Council members) are the backbone of our society.
To continue building on our successes and to launch new initiaitives, we need more of our members to step forward, participate and volunteer their time and skills.
Volunteering is not just about giving back; it’s about being part of something larger than ourselves. It’s about contributing to a vibrant community, gaining new experiences and forging deeper connections with fellow members.
So, how can you get involved?
• Join us at the Gisborne convention in September. It is going to be an amazing weekend.
• Start thinking about your images for the National Salon next year. The National Convention in Nelson is going to be an amazing event with some sensational international speakers.
• Send in your ideas for workshops and conventions. Speak with your club if you have one and see if you have sufficient numbers to maybe hold or lead the hosting of a regional convention.
• Welcome new members to your club and encourage them to join PSNZ. Show them and share the benefits.
• Share your ideas on creative projects. Send them to the subeditor of the CameraTalk magazine (dilinz@actrix.co.nz).
• Are you thinking about going for your honours? Seek guidance early. Our goal is that members are successful, and there is help to guide you on this journey.
Finally, PSNZ Council has a vacancy for a Councillor for Communications. Do you have the following skill set?
• A high degree of computer literacy
• Competence with MSWord or similar apps
• Good organisational skills, online filing and database maintenance
• A familiarity with Mailchimp or similar tools
• Some expertise in formatting and publishing emails with inserts
• An active Facebook user and can assist to manage member requests.
If so, please reach out (President@ photography.org.nz). I would love to discuss how your skills and interests can align with our needs and initiatives.
Thank you.
Key Dates for the Diary
August 10
August 24
August 25
September 20
October 1
October 25-27
October 25
November 1
November 8-10
November 22-24
Entries for North Island Regional Salon close
Grace & Movement workshop
Canon Online Round closes
North Island Regional Convention - Gisborne
Entries for Jack Sprosen Memorial Trophy open
Painterly Landscapes workshop
Canon Online Round closes
Entries for Jack Sprosen Memorial Trophy close
Thames Steampunk photo opportunity
Garden Workshop
SONY National Digital Salon - Gold
Welcome to Our New PSNZ Members!
Anna Menendez
Bill Cabout
David Peterson
Deb Corbett
Dunya Hercigonja
Fiona Gunter-Firth
Graham Haines
Ken Goldfinch
Michelle Brown
Murray Wall
Neville Burt
Paul Brookbanks
Roycy Fernandes
Sandra Jones
Stuart Battersby
Sue Townson
Wilma Sharp
SONY National Digital Salon - Gold
Crested Grebe Courtship Gary McClintock APSNZ
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PSNZ Service Awards
By Caroline Ludford LPSNZ ANPSNZ LRPS, PSNZ President
The Photographic Society of New Zealand bestows a number of service awards to members who have made a significant contribution to the Society. They include
• Honorary Fellowship (Hon FPSNZ)
• Honorary Life Membership (Hon PSNZ)
• PSNZ Service Medal
• Emma and William McPherson Award
Nominations for Service Awards are submitted to the Honours Board in the same time frame as the submissions for Honours distinctions. Submissions open on 16 January and close on 28 February 2025.
Nominations are made on the form found on the PSNZ website and submitted in digital format to the secretary of the Honours Board.
Bylaw number 10 covers the procedure and the different awards available. To find bylaw 10, go to the “About” page on the website. The application form can be found under the “Honours” tab on the home page.
Partners! PSNZ and CR Kennedy
The first of a series by Aston Moss LPSNZ
We are fortunate to have many people who contribute to the running of PSNZ. While it is easy to think of our councillors, workshop leaders, members of affiliated clubs involved in hosting events, the Judge Accreditation Panel and Honours Board, there is another group of unsung heroes – our trade partners who provide so much to our Society.
In the next few editions of CameraTalk we’ll be interviewing our trade partners, giving members the opportunity to get to know the faces beside the brands. As Vice President and Co-Councillor for Trade Partnerships, I had the privilege of interviewing some of the familiar, along with some of the not so familiar, faces that members may have seen at various events. It is important to understand that these valued contributors to PSNZ, as well being passionate brand ambassadors, are usually talented photographers in their own right, incredible sources of knowledge and expertise – and just incredibly generous and nice human beings.
This month, I was fortunate enough to interview Gerard Emery, Managing Director of CR Kennedy New Zealand. This firm has been a longstanding supporter of PSNZ, platinum partner and sponsor of the PSNZ CR Kennedy Honours Banquet at national conventions. Among their portfolio of products are the wonderful Ilford papers and reusable cameras, Sigma lenses and a range of other photographic and non-photographic products.
Gerard is a keen photographer, whose work may be familiar to many, having been a professional photographer in the past and a talented artist in his own right.
¾ What inspired your company to support PSNZ?
Photography has been the basis of CR Kennedy (CRK) for 90 years. I was a fulltime photographer in the past and it’s still a passion for me today, and for the majority of my staff. PSNZ has been such a strong part of the photographic industry in New Zealand for many decades and it only makes sense that we should form a unity.
¾ Tell us about the range of photography-related products your company distributes. What makes them stand out?
CRK represents quality photography products including Sigma, Profoto, Ilford Papers, Phase One, Hoya, Zeiss and Vanguard – to name a few. What makes these products stand out, besides the outstanding reviews they receive worldwide, is the experience and passion of the people selling and supporting them. We at CRK take enormous pride in the products we represent.
¾ How do you balance your company role with your passion for photography?
I am extremely lucky in my role. Not only do I get to hold the latest equipment and see work produced by amazing artistic photographers, but also to travel in New Zealand and abroad. I always have my camera with me.
I have just come back from a few days high up on the side of Mt Cook, photographing at subzero temperatures at Plateau Hut.
¾ Please share some examples of the ways in which your company has organised other events to educate and help PSNZ members to grow.
Some people reading this may remember the fun and informative evenings hosted with Peter Coulson, Australian photographer of the year, and his tall Amazonian model.
CRK would bring them from Australia from time to time and run events at the town hall, then later at the 360-degree events room at the top of the Auckland Museum – the last with 180 photographers attending.
Currently we are working with Rachael Smith, running print workshops covering colour management including colour profiling, knowing how to select the correct paper type for the finished print, and educating people to get the best from their printing.
¾ As a keen photographer yourself, what aspects of photography do you find most fascinating?
I’m still coming to grips with Artificial Intelligence (AI), the crazy images that people make, and the infinite possibilities in using AI to remove items or tidy up missing areas at the push of a button.
¾ Are there any memorable moments or experiences from your involvement with the Society that you’d like to share?
The biggest is the friendships that societies like yours create. I can honestly say I have made some lifelong friends thanks to PSNZ.
¾ What advice would you give to aspiring photographers who are just starting their journey?
Spend, spend, and spend! Everyone needs lots of new toys – it makes it more fun. But on a half-serious note, don’t give up! It will come, you will make it. Only this year have I entered my first photographic competition – after 35 years in the photographic industry. I have finally got the courage.
¾ What do you enjoy most about interacting with Society members during events?
We are all very likeminded and share the same passion – photography. I have met some beautiful characters through the Society. I love talking photography, and hearing and seeing everyone’s achievements.
¾ In your opinion, what role does photography play in our lives today?
Never have as many images been taken as today. Five billion per day, which equates to 57,000 per second. Photography has become such an important device with which to capture what we want to remember. We freeze time and commit moments to eternity.
¾ Have there been any unexpected benefits or outcomes from our partnership?
Being awarded the Society’s Service Medal really blew me away. It was hard to hold back the tears as I accepted such a great honour. My certificate hangs proudly above my office desk.
¾ Please describe a favourite photograph you’ve taken and the story behind it.
One of my favourite photos was taken as a teenager in 1986 when the photographic bug really hit me. I was using my very old twinlens Yashica camera, loaded with slide film. I set it up on a tripod at Westhaven Marina one evening, with a twist-and-lock cable release attached.
I set it off for a series of 30-minute exposures, got back in the warmth of my car, had a cuddle with a long-time PSNZ member’s daughter who I was dating at the time, and ended up with the most amazing captures of the harbour bridge. I’m still very proud of those images.
Interior of St. Pauls Cathedral, London
¾ Can you share a fun or quirky photography-related fact about yourself?
My embarrassing shoot was when I was photographing beauty pageants in my early 20s. I was doing a model shoot by the fountain between the two greenhouses at the winter garden in the Auckland Domain. I stepped a little too far backwards while composing the perfect shot, tumbled down the steps and released the largest gaseous discharge in front of everyone. The roar of laughter from the crowd soon drowned my embarrassment.
Thank you, Gerard, for sharing a little of your story. Members will surely relate to the need to develop courage and to feel their images are worth sharing. We wish you every success in your competitive endeavours and will look forward to hearing how you fare with your entries.
PSNZ thanks you for your support – not just through CR Kennedy, but for your personal advocacy and activities which promote and develop photography in New Zealand.
Footnote
In the article Gerard mentioned that he was entering the NZIPP Iris Awards this year. He was quite successful with four Silver and five Bronze medals. All of the images in this article scored Silver. Congratulations.
The Fork – Alimentarium, Lake Geneva, Switzerland
Aerial shot of the Braids of Lake Pukaki
New vision New possibilities
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14mm f/1.4 DG DN Art Lens A
Sony National Digital Salon ResultsBridging The Convention Gap
By Annette Johnston FPSNZ PSNZ Councillor for Salons
Thanks to the continued generous support of SONY, the Photographic Society of New Zealand (PSNZ) has now hosted the 2024 SONY National Digital Salon. This standalone, digital-only salon was put in place to, in part, fill the gap caused by the change in the national convention date and the subsequent postponement of the traditional SONY Exhibition.
The SONY National Digital Salon was met with a good response from our PSNZ members, and even a few non-members. We received a total of 858 images from 155 talented individuals, with 534 Open images, and 324 Nature Images.
Congratulations to Liz Hardley FPSNZ EPSA GMAPS LRPS EFIAP/p, our Champion Open winner with her image Centre Court Shadow Play, and to Gary McClintock APSNZ, our Champion Nature winner with his image Crested Grebe Courtship.
Congratulations also to the Silver Medal, Bronze Medal and Honours Ribbon recipients and to those who received a hard won Acceptance. To all who entered I say a sincere thank you; this salon would not have been possible without your enthusiasm, hard work and ongoing support.
Our thanks go out to our team of judges, who each spent valuable time reviewing every image during the ten days they had to record their first round scores. The judges then met at the weekend via Zoom, and again viewed and discussed the ranked images, before eventually reaching their collective decisions.
As the salon moderator, it was a privilege to hear the nuanced discussions that were had, and to note the respect each image was afforded.
The full Salon Catalogue can be viewed at https://photography.org.nz/salons-galleries/ psnz-sony-national-digital-salon/
Results
Open Section
Champion Image (PSNZ Trophy and a photography voucher to the value of $500.00)
Liz Hardley FPSNZ EPSA GMAPS LRPS EFIAP/p Centre Court Shadow Play
PSNZ Silver Medal
Sharon Souproanuck LPSNZ Dusk on Fire
Michael Venz APSNZ Two Trees
PSNZ Bronze Medal
Lorraine Gibb APSNZ The Walker
Gill Hodgson APSNZ Nugget Point Sunrise
Val Wardell APSNZ Joyful Morning
Nature Section
Champion Image (PSNZ Trophy and a photography voucher to the value of $500.00)
Gary McClintock APSNZ Crested Grebe Courtship
PSNZ Silver Medal
Nadine Campbell ANPSNZ Alpine Penwiper
Glenda Rees Rifleman with Moth
PSNZ Bronze Medal
Nel Davison LPSNZ Tuturiwhatu (Dotterel) Chick
Rob Weir APSNZ EFIAP Leopard at Night
Paula Vigus LPSNZ Gliophorus species
Other PSNZ Salons
The North Island Regional Salon and Exhibition, together with the North Island Regional Convention, are now both open for submission and registration. The Regional Salon closes at 5.00 pm on Saturday, 10 August.
The Regional Salon sections are:
Nature Images (Print and Digital)
Open Images (Print and Digital
• Photojournalism as a subcategory
• Portrait as a subcategory
Running alongside the salon and exhibition is the free to enter North Island Interclub for Digitally Projected Images which invites PSNZ Affiliated Clubs of the North Island to enter six digital images by six different photographers.
Please note that if your club has less than 40 members, then a maximum of two members may enter two images in the selection. There are no requirements for a set and each image will be classified as open.
This is an opportunity for your club to come together and as a body of like-minded people put your best images forward for consideration.
For more information on the convention, salon and interclub see the PSNZ website and look under the EVENTS tab.
FOUR Nations
Entries for 4 Nations have closed and I am pleased to confirm that we have received over 140 submissions.
The images are currently being ranked before the exacting process of selecting one image per photographer across the four different sections. We wish Bob Scott LPSNZ and his team of judges, Geoff Beals APSNZ, David Smith FPSNZ and Julia Home APSNZ EFIAP/b AAPS GPSA PPSA the very best as they undertake this task.
Jack Sprosen Memorial Trophy for Audio-Visual
Trish McAuslan FPSNZ EFIAP/b FAPS AVAAPS will again lead this salon which we expect to be run in October/November this year.
SONY National Exhibition 2025
Work is underway for the welcome return of our flagship PSNZ Salon, the SONY National Exhibition. The six judges are all appointed and over the next few months the PSNZ website will be updated with all the necessary entry information.
The exhibition will be presented at the 2025 PSNZ National Convention, to be held in Nelson from 1 to 4 May 2025. Entries will open, for a full Open and Nature, Digital and Print Salon, on Monday, 20 January 2025.
National Interclubs
We will also be welcoming back the PSNZ National Interclub Competition, featuring
• The Wiltshire Interclub Competition for Digitally Projected Images
• The Bledisloe Interclub Competition for Photographic Prints
• The George Chance Interclub Competition for Landscape Prints
• The Bowron Interclub Competition for Digitally Projected Landscape Images
Sue Riach APSNZ ARPS AFIAP
SONY National Digital Salon - Silver
Dusk on Fire Sharon Souproanuck LPSNZ
Two Trees Michael Venz APSNZ
SONY National Digital Salon - Silver
Alpine Penwiper Nadine Campbell ANPSNZ
Rifleman with Moth Glenda Rees
Embrace the Art of Photography: Discover
Our Workshops!
Are you passionate about photography and looking to elevate your skills? Join us on Sunday, 22nd September 2024, for an exciting lineup of workshops at the Gisborne Regional Convention. Whether you're refining your techniques or aiming for professional accolades, these workshops cater to all levels of experience and are led by some of New Zealand’s top photographers. Hurry as spaces are filling fast.
Workshop 1: Capturing the Action with John Cowpland and Michael Bradley
Dive into the dynamic world of sports photography at the Patu Tahi Boxing Club. Experts John Cowpland and Michael Bradley will guide you through the challenges of capturing sharp, vivid sports actions in low light, focusing on both the intensity of live sports and the nuanced expressions of sportraiture. This workshop is perfect for those interested in understanding fast-paced photography and learning to use off-camera flash for compelling portraits.
Workshop 2: The Road to Honours with Paul Byrne
Thinking about elevating your photography to the next level? Paul Byrne FPSNZ ARPS AFIAP, a seasoned PSNZ Judge and Honours Board member, will lead the Road to Honours Workshop. This session is designed to demystify the process of applying for a PSNZ Honours distinction, providing crucial insights into preparing a standout portfolio. Learn about the expectations and assessment criteria, directly from an insider, to enhance your chances of achieving this prestigious recognition.
Workshop 4: The Finer Points of Printing and Matting with Chris Helliwell LPSNZ
Transform your digital images into tangible works of art with Chris Helliwell’s expert guidance. Learn everything from selecting the right paper, managing colours, to the final touches of framing. Chris's workshop is ideal for anyone wanting to gain control over the printing process and ensure their photographs are presented as high-quality fine art prints.
Workshop 3: Escape into the Surreal with Meghan Maloney
Join Meghan Maloney and step into the surreal aspects of landscape photography. This workshop will explore the use of ND filters to enhance and transform natural scenes into breathtaking, dream-like images. If you're looking to add a touch of fantasy to your landscapes and offer viewers an escape into the surreal, Meghan’s insights will open new creative avenues for your photography.
In the heart of Gisborne this September, seize the chance to not only enhance your photography skills but also join a community passionate about capturing the world through a lens. Each workshop is a unique opportunity to learn from the best, ask questions, and practise your craft in a supportive environment. Whether it's mastering the action of sports, delving into the surreal landscapes, understanding the nuances of achieving prestigious honours, or bringing your digital creations to life as fine art prints, these workshops are designed to inspire and educate.
Don't let this chance slip by! Engage with experts, broaden your horizons, and perhaps even take the first steps toward new photographic achievements. Come for the skills, stay in the community, and leave with a portfolio that not only preserves memories but showcases your evolving talent. Sign up today and be part of something bigger, a place where your passion for photography meets our commitment to bringing out the best in each and every photographer. Let's make those shutters click and creativity flow at the Gisborne Regional Convention. See you there!
Exploring Horizons: Field Trips and Workshops at the North Island Regional Convention
Set against the backdrop of Gisborne’s captivating landscapes and cultural richness, the PSNZ Regional Convention offers an unparalleled opportunity to learn, network, and create. Whether you are looking to deepen your technical skills, explore new artistic avenues, or simply enjoy the company of fellow photography enthusiasts, this convention promises to be an enriching experience. Join us for a weekend that celebrates the art of photography and the beauty of discovery.
Discover the Beauty of Field Trips
Embark on a journey through some of the North Island's most picturesque and historically rich sites. Our field trips are designed to cater to a variety of interests and skill levels, ensuring every participant leaves with stunning photographs and enriched knowledge. Whether you are drawn to the rustic charm of the Kaiteratahi Ruins, the serene beauty of the Bushmere Arms Gardens, or the technological allure of the East Coast Museum of Technology, there is a destination to ignite every photographer’s passion.
The convention is not just about listening but also doing. Attendees will have the opportunity to participate in one of the field trips, each led by experts:
Eastwoodhill Arboretum
Join Chris Helliwell LPSNZ and Annette Johnston FPSNZ this spring at the Eastwoodhill Arboretum, a botanical haven featuring over 3,500 tree species. As the park awakens from winter, experience the vibrant spectacle of magnolias, camellias, and rhododendrons in full bloom, alongside the cheerful yellows and whites of daffodils. The arboretum's natural woodland areas burst with lush, new foliage, creating a stunning backdrop for both photography and nature walks. The season also welcomes a chorus of native birds, including Tui and Kereru, enhancing your photographic journey with their dynamic presence. This unique setting offers endless inspiration for photographers of all skill levels. For more details visit https:// regional.photography.org.nz/ni-fieldtrips/ eastwoodhill-arboretum/
Kaiteratahi Ruins
Join us for a captivating photography field trip to the haunting Waipaoa Freezing Works, an imposing relic reminiscent of bombed Berlin. Led by keynote speaker Meghan Maloney, this expedition offers an unparalleled opportunity to capture the stark beauty of this ghost building and its vast surrounding landscapes through your lens. Built in 1915 and abandoned in the early 1930s, this site now serves as a dramatic backdrop for both architectural studies and sweeping land-based long exposures. Conclude your day of exploration with a delightful afternoon tea at the nearby Bushmere Arms, an award-winning locale. For more details visit https://regional.photography. org.nz/ni-fieldtrips/kaiteratahi-ruins/
Bushmere Arms
Immerse yourself in the elegance and charm of Bushmere Arms, a venue celebrated for its fine cuisine and enchanting gardens, under the expert guidance of Michael Bradley and Julia Rae. This sophisticated location offers photographers a tapestry of visual opportunities, from the grandeur of landscaped gardens with formal paths and fountains to intimate flower portraits and macro photography experiments. Explore the architecture, delve into stylish monochrome techniques, or engage with portraiture at our model station. Cap off your experience with a stylish afternoon tea prepared by Bushmere Arms' award-winning chef. Don't miss this chance to enhance your photography skills in a setting that combines historical ambience with artistic potential. For more details visit: https://regional.photography.org.nz/nifieldtrips/bushmere-arms-gardens/
East Coast Museum of Technology
Discover the hidden photographic gems of the East Coast Museum of Technology (ECMoT), guided by John Cowpland and Rachel Hume APSNZ. This venue, a nostalgic treasure trove, presents a wide array of photographic subjects from the past to the present, ranging from large machinery to intricate small details, all awaiting your creative vision. To enhance the experience, each participant will engage in an "I Spy Treasure Hunt", starting with straightforward prompts and progressing to more conceptual and challenging observations. This interactive approach not only adds excitement but also sharpens your photographic skills. For more details visit: https://regional.photography.org.nz/nifieldtrips/east-coast-museum-of-technology/
The Shape of Things: Self Guided Walk through Gisborne
Embark on a unique photographic journey through Gisborne with "The Shape of Things," a self-guided walk that challenges you to capture the diverse shapes that make up the city. From the distinct lines of modern architecture to the fluidity of abstracts, the dynamic movements of people, and the intriguing techniques of Intentional Camera Movement (ICM), this adventure offers endless creative possibilities. As you stroll through the streets, sharpen your eye for detail and composition, finding beauty and form in unexpected places. This is a perfect opportunity for photographers eager to expand their visual portfolio and see the world through a new lens. Join us and transform the ordinary into extraordinary through your camera’s eye! For more details visit: https://regional.photography.org.nz/nifieldtrips/gisborne-discovery-walk/
Travel Beyond
Step outside your comfort zone and immerse yourself in a world of endless photographic possibilities and tecniques. Embrace the freedom of boundless creativity. Discover the Manfrotto Befree GT collection at manfrotto.com
Smooth, instant framing with the new 496 ball head MKBFRA4GTXP-BH
Photo by Ross Hoddinott
PSNZ Honours
By Stephanie Forrester APSNZ Secretary, PSNZ Honours Board
Wouldn’t it be wonderful if someone would create a template for the successful honours submission. The PSNZ Guidelines https://photography.org.nz/hon.../guidelines-and-submission/ is the perfect starting place to understand what you need to do and when you need to do it when applying for your honours. Please read and digest these carefully.
While the guidelines are not at all prescriptive they do give you a very good steer on what is important in an honours set. You are the artist and it is your artistic vision along with following the guidelines. Also, for those who are having a second attempt and are submitting a digital set, please note that the image size has been changed to be in line with the PSNZ standard of 3840 pixels wide x 2160 pixels high. These dimensions are not interchangeable.
If you are submitting a print set, please do not use tape of any kind around your images as there is a risk when unpacking images that your set or another may end up with tape on an image. Please ensure that your packaging is strong, will protect your images and can be unpacked and repacked easily.
We will each have our own unique way of working and it may be helpful to show your images to one or two people you trust and who you know will give you honest feedback. Having said that, the final decision is yours as your set is about your vision.
In years past I have done the last minute thing, pull some images from my back catalogue, make sure that I have the required diversity of images and create some kind of flow for a Licentiate set, to agonising for months over which images flow best in an Associate set.
We are already in August and in five months' time on 16 January 2025 submissions will open. You then have six weeks to submit your digital or print set. Consider you have a virtual chocolate fish if you manage to submit your set at least one week before the closing date, 5:00pm on 28 February 2025.
The email address for any Honours queries is psnzhonours@gmail.com
My Journey in Photography
By Mark Burgess APSNZ
Although I was a bit of a science nerd at high school, I didn’t get into photography at an early age. I followed my instincts to go to university and study science, with little idea where that might take me. On graduating I discovered I had qualified as a trainee laboratory technician and that prospect seemed appalling! So I retreated for more of the same and returned to the job market with an MSc Hons. Through random events I wound up as a technical support person for water treatment chemicals and I enjoyed the opportunity to make use of my qualifications while working in a commercially driven environment. Fast forward to a career in business at the University of Auckland where I finally retired as the Director of the Institute for Innovation in Biotechnology and Director of a University programme to strengthen its value to the agri-technology sector.
My first camera was an Olympus OM1, a now celebrated camera because of its sleek and compact 35mm SLR design. It was fully manual, although it did have an exposure meter built into the viewfinder. I knew nothing about photography at that time but taught myself the basics by reading library books. I used the OM1 largely for family events and travel. Along with the rest of the world, I eventually moved from film to digital and owned a succession of point and shoot cameras until I bought my first interchangeable lens camera in 2013, prior to a trip to the USA. It was an Olympus OM10 and I loved its retro ascetic. I only used it for foreign travel but did start learning Photoshop to improve processing.
Blue Duck Station
In 2015 I joined the Auckland Photographic Society (APS) at the suggestion of a friend. I was overwhelmed by the diversity and quality of what was being produced by club members — wonderful landscapes, incredible macros, engaging long exposures, alien astrophotography, and characterful portraits. It was outstanding and filled me with inspiration. Could I ever produce work of this standard? I immediately found the monthly competition nights and the associated critiques of the images entered made for an incredible learning experience. To this day my standard advice to anyone wanting to improve their photography is to join a club.
Soon APS was preparing to organise the 2017 National Convention and I joined the organising committee. That entailed registering for the 2016 Queenstown convention which provided another massive learning experience.
Subsequently I joined the organising committees for the Taupo Regional and the Rotorua National Conventions, although both were cancelled due to Covid.
Juvenile Falcon
Cape Palliser
My journey has included completing a “365 through 2017” which demanded shooting daily and was in effect a framework for constant practice. I achieved my PSNZ Licentiate and then Associate Honours in 2022.
Today I shoot mainly with Sony gear, but a few years ago joined the film revival and had my original Olympus OM1 refurbished. Since then I have developed a love of square 120 format film which I shoot on a Mamiya C330. I often shoot square format with my Sony digital.
I remain inspired by my first year at APS and enjoy multiple genres of photography. I know this means I will never be “world famous in Auckland” but I enjoy variety too much to want to specialise. I enjoy the planning, execution and processing aspects of photography. When people ask me why I do it my answer is always to explain that I love the opportunity it brings to get around NZ in a purposeful way and capture our wonderful landscapes, nature and culture.
Rotoiti
Mycena
Tipping Point
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Running an Exhibition
By Jo Broadhead APSNZ
As this issue of CameraTalk comes out, Queenstown Photography Club will be putting the finishing touches on its latest exhibition, Our World - Through the Lens. It is opening on 29 August and runs until 29 September 2024 at the Lakes District Museum and Art Gallery in Arrowtown.
This is the club’s second member exhibition, the first one in 2021 being the brainchild of former club president, Jo Boyd. This time we have been fortunate to secure a sponsor, Bayleys Property Management, providing invaluable support for a small club.
I know many clubs are well experienced in running exhibitions, so this article is geared towards smaller clubs, and those who’ve not run one before, to provide an idea of why they are worth considering and what’s involved.
Why run an exhibition?
There are many reasons for running an exhibition. Here are the main drivers for our club.
1. Learning about the print process
For the first exhibition in 2021, Jo Boyd was keen to help members learn about the print process. Few members had any
experience printing their images, so in the period leading up to the printing, members were introduced to different paper stock and printing options available.
2. A unified goal
Our monthly assessments are individual challenges, and some of our members aren’t keen on competitions at all. So, it has been great to have a club goal, something all members can participate in and help each other.
3. Fun
Throughout the months of preparation, at club nights there are some shared experiences and some laughs along the way.
4. Sense of achievement
It doesn’t matter what grade you are, or how seriously you take your photography, whether you exhibit one image or many. When we come to Opening Night and it all comes together, there is a real sense of achievement which is lovely to share with family and friends.
5. Attract new members
Being a small club, we hope to attract some new members by raising the awareness of our club in our community.
What to consider
1. Talk with members and make sure they are willing to get on board with the idea.
2. Finding a gallery that is willing to showcase your club’s work. You’ll want to know any costs (gallery hire, commission rates, signage etc), exhibition space, any restrictions, hanging preferences etc.
3. Timing. How far out do you need to book? How much time do members need to prepare? If you want to do a good job, it will take time to get a group of people ready. We booked our space ten months prior to allow lots of preparation time.
4. Organisers. I’d recommend having at least two key people doing the behind the scenes planning and organising.
5. Budget. What costs will the club incur, and how do you plan to cover these costs? Can you find a local sponsor to assist?
6. Theme. Do you want to give your exhibition a theme? For our first exhibition we kept the theme local –"Wakatipu" – and all images had to be taken within the local area. This time we’ve opened it up to "Our World" and given members a wide scope.
7. Presentation. Do you have any requirements for the way images are to be presented – unframed, matted, or framed?
8. Member preparation. What will members need to do, and by when? What skills will they need to learn, particularly novice photographers?
9. Print process. Can you work with a local printer and negotiate a club deal?
10. Marketing/PR. Consider a planning timeline. Think about a title for your exhibition, posters and graphics, website, social media engagement, local media, signage. Will you produce a catalogue and price list, invitations to the opening?
11. Installation and removal of exhibition. How is this to come together? How will exhibits be hung? Will you have name plates beside works? Who will help?
Working with a sponsor
If you are fortunate and have a sponsor involved, it will open up further opportunities and will require management. Having one point of contact is the simplest way to handle sponsors.
1. Be sure to have the arrangement formalised and agreed on, particularly around costs.
2. Branding. You will need high resolution logos and brand guidelines for your artwork.
3. Value. Always think about adding value for your sponsor.
4. Share your media plan and look for areas of leverage, particularly around press releases and social media.
5. Promotion. Be sure to include your sponsor’s logo on all promotional material. Have A4 posters distributed around town and in public places in the lead-up to the exhibition. Take advantage of services like community notices on the radio.
6. Invitations. Do they have clients or colleagues to invite to the opening night? Should they have a speaker slot? Can they bring their own promo material?
7. Keep the conversation going. With Bayleys Property Management we will be running a People’s Choice competition. This will generate social media engagement during and after the exhibition.
If your club has entertained the idea of running an exhibition, I hope this article has given you a basic starting point. In the meantime, if you are visiting the Queenstown area in September, we warmly invite you to pop along to our exhibition. It opens on 29 August at the Lakes District Museum, 49 Buckingham Street, Arrowtown. Opening hours are 9.00 am to 4.00 pm and entry is free.
Tuturiwhatu (Dotterel) Chick Nel Davison LPSNZ
Leopard at Night Rob Weir APSNZ EFIAP
Gliophorus species Paula Vigus LPSNZ
The Walker Lorraine Gibb APSNZ
Nugget Point Sunrise Gill Hodgson APSNZ
Joyful Morning Val Wardell APSNZ
Special Feature : Post-Processing
In this edition's Special Feature we take a very brief look at the area of post-processing. I say brief because it is a subject that thousands of books, and years' worth of video available on the subject.
We asked members what software they used for post-processing and the results are shown here, based on the 54 responses given. Not included are the four programmes only used by one person.
72.2% of respondents used more than one program.
Photo by Radek Grzybowski on Unsplash
Know the Jargon
Many modern photo post-processing terms originate from traditional darkroom practices. These terms have been adapted for use in digital editing software but often retain similar meanings and purposes. Here are some key terms that bridge the gap between darkroom techniques and digital post-processing:
Darkroom Digital Dodge and Burn
In the darkroom, dodging involves selectively lightening certain areas of a print by reducing the exposure to light, while burning involves selectively darkening areas by increasing the exposure to light.
Crop
Cropping in the darkroom involved physically masking parts of the photographic paper or adjusting the enlarger to change the composition of the final print.
Exposure
Exposure in the darkroom referred to the amount of light allowed to hit the photographic paper or film, determining the brightness of the final print.
Contrast
Contrast in the darkroom was controlled by using different grades of photographic paper or filters to adjust the difference between the lightest and darkest areas of the print.
Sharpen
Sharpening in the darkroom was a more complex and less precise process, often involving the use of special films, lenses, or focusing techniques to enhance the perceived sharpness.
In digital post-processing, dodging and burning refers to selectively brightening or darkening specific areas of an image, using tools like brushes or gradient masks to enhance contrast and detail.
Digital cropping involves removing unwanted edges of an image to improve composition, focus attention on the subject, or fit specific aspect ratios. Modern tools may also allow you to use the crop tool to increase the size of the image.
In digital editing, exposure adjustment changes the overall brightness of the image, simulating the effect of altering the light exposure during the initial capture.
Digital contrast adjustment increases or decreases the difference between the light and dark areas of an image, enhancing or softening the tonal range.
Digital sharpening uses algorithms to increase the edge contrast in an image, making it appear crisper and more detailed.
Darkroom Digital
Saturation
Saturation adjustments in the darkroom were primarily achieved through the choice of film or paper and the chemical processes used, which could influence colour intensity.
Vignette
Vignetting in the darkroom could occur naturally, due to lens characteristics or be added deliberately by masking the edges of the photographic paper during exposure to create a gradual darkening effect.
Grain/Noise
Grain in film photography referred to the visible particles of silver halide crystals that formed the image, especially noticeable in higher ISO films.
Curves
Curves in the darkroom context involved the characteristic curves of photographic films and papers, representing the relationship between exposure and density.
White Balance
White balance adjustments in the darkroom were managed through the choice of film (daylight vs tungsten) and filtration during the printing process.
Digital saturation adjustments enhance or reduce the intensity of colours in an image, making them more vibrant or muted.
In digital editing, a vignette effect darkens or lightens the edges of an image to draw attention to the centre, often added using software tools.
In digital photography, noise refers to the random variation of brightness or colour information, often seen in low-light images. Digital editing can add or reduce grain to simulate film effects or improve image quality.
Digital curves adjustment allows fine-tuning of the tonal range and contrast of an image by manipulating a curve graph that controls shadows, midtones, and highlights.
Digital white balance adjustments correct colour casts and ensure accurate colour representation based on the lighting conditions in which the photo was taken.
These terms and techniques highlight the continuity between traditional photographic practices and modern digital post-processing, reflecting the evolution of the medium while preserving its foundational concepts.
Post-Processing Tools
Post-processing is an essential part of digital photography, enabling photographers to enhance and refine their images. Here are some of the most commonly used tools and software for post-processing digital photos. The choice of post-processing tools depends on the specific needs, budget and proficiency level of the photographer.
Product Key Features Best For Adobe Lightroom
A favourite among photographers due to its comprehensive set of tools for managing and editing photos.
Adobe Photoshop
The industry standard for photo editing, offering advanced capabilities for detailed and complex edits.
Adobe Photoshop Elements
A slimmed down version of Photoshop
Capture One
A professional-grade software, known for its exceptional raw processing and tethering capabilities.
DxO PhotoLab
Known for its powerful raw conversion and noise reduction technologies.
Non-destructive editing, advanced colour correction, powerful organisational tools, batch processing, and integration with Adobe Photoshop.
Layers and masks, extensive retouching tools, advanced selection tools, and the ability to work with raw files.
Organising large photo libraries and performing extensive edits and adjustments.
Simplified workflow suitable for non- professionals.
Detailed retouching, composite images, and extensive image manipulation.
Superior colour grading tools, tethered shooting support, customisable interface, and excellent noise reduction.
People who do not need all the power of the full program, and do not want to opt for a subscription service.
High-end studio and commercial photography, especially when colour accuracy is critical.
DxO DeepPRIME noise reduction, optical corrections, and local adjustment tools with U Point technology.
Photographers looking for high-quality raw processing and noise reduction.
Product Key Features Best For Skylum Luminar
Popular for its user-friendly interface and AI-powered editing tools.
Affinity Photo
A cost-effective alternative to Photoshop, offering a wide range of professionalgrade features.
ON1 Photo RAW
Combines photo organising and editing tools in one package, offering a wide range of features.
Corel PaintShop Pro
An affordable and featurerich photo editing software with a range of tools for both beginners and advanced users.
GIMP (GNU Image Manipulation Program)
A free, open-source photo editing software that offers a wide range of features similar to Photoshop.
AI-based tools for sky replacement, portrait enhancement and landscape editing, along with traditional editing tools.
Comprehensive retouching tools, layer-based editing, and compatibility with Photoshop plugins.
Quick and creative edits with AI assistance, suitable for both beginners and advanced users.
Photographers seeking a powerful yet affordable photo editing software.
Raw processing, extensive local adjustments, and a variety of creative effects and presets.
Photographers who want an all-in-one solution for photo editing and organising.
Budget-conscious photographers looking for a versatile editing tool.
Layers, masks, filters, and a customisable interface.
Photographers who prefer a free alternative with advanced editing capabilities.
Post-Processing – a General Guide
Post-processing a digital image involves several essential steps to enhance and refine the photo. These steps are generally applicable regardless of the software you use, be it Adobe Lightroom, Photoshop, Capture One, or any other editing program. Here’s a guide to the basic steps in post-processing a digital image. If you search on YouTube for your chosen software you are sure to find multiple videos to follow.
Step 1: Import and Organise
Start by importing your image(s) into your chosen editing software, and then organise them. This could be as simple as putting them into folders or using some form of identification such as key words, collections, or catalogues. This will help you organise your images for easy access and efficient workflow management.
Step 2: Grade your Images
Review your images and decide which ones you wish to take further in post processing.
Step 3: Global Adjustments
¾ Exposure. Adjust the overall brightness of the image to ensure it’s not too dark or too light.
¾ White Balance. Correct the colour balance to make sure the colours in your image appear natural. This involves adjusting the temperature and tint.
¾ Contrast. Enhance the difference between the light and dark areas to add depth to your image.
¾ Highlights and Shadows. Fine-tune the details in the brightest and darkest parts of your image. Recover details in
blown-out highlights or lost shadows.
¾ Whites and Blacks. Set the white and black points to ensure a full tonal range in the image.
¾ Clarity and Texture. Enhance midtone contrast and fine details. Clarity adjusts the overall crispness, while texture focuses on finer details.
¾ Saturation and Vibrance. Adjust the intensity of colours. Saturation affects all colours equally, while vibrance is more selective and protects skin tones.
¾ HSL Adjustments. Fine-tune the hue, saturation and luminance of individual colours to achieve the desired look.
Step 4: Detail Enhancement
¾ Sharpening. Increase the sharpness to make details stand out. Be cautious not to overdo it, as it can create halos or artifacts.
¾ Noise Reduction. Reduce noise, especially in high ISO images. Adjust both luminance and colour noise reduction sliders to clean up the image while preserving detail.
Step 5: Local Adjustments
¾ Adjustment Brush. Apply specific adjustments to targeted areas of your image, such as dodging (lightening) and burning (darkening).
¾ Graduated Filter. Apply gradient adjustments to parts of your image; useful for enhancing skies or foregrounds.
¾ Radial Filter. Apply adjustments to circular or elliptical areas; useful for creating vignettes or emphasising subjects.
Step 6: Crop and Straighten
¾ Crop. Adjust the composition by cropping the image to improve framing, remove distractions, or change the aspect ratio.
¾ Straighten. Correct the horizon or any other lines that should be straight but appear tilted.
Step 7: Spot Removal and Healing
¾ Spot Removal. Remove blemishes, dust spots, or any other unwanted elements, using spot healing or cloning tools.
¾ Healing Brush. Smoothe out imperfections and blend textures seamlessly; particularly useful for portraits.
Step 8: Creative Adjustments
¾ Vignetting. Add a subtle vignette to draw attention to the centre of the image.
¾ Filters and Presets. Apply creative filters or presets to give your image a specific look or style. Customise these effects to fit your vision.
Step 9: Final Touches and Exporting
¾ Final Checks. Zoom in and inspect your image for any last adjustments needed.
¾ Export. Choose the appropriate settings for your final output. This includes selecting the file format (JPEG, TIFF, etc.), resolution, and any necessary compression or resizing.
By following these steps, you can systematically enhance and refine your digital images, ensuring they are polished and ready for display or sharing.
Selecting images for Post-Processing
By Paul Whitham APSNZ
Modern digital cameras, with high frame rates coupled with large storage cards, enable us to take considerably more photographs than ever before. In some cases the “spray and pray” approach is quite appropriate when we are trying to capture moving objects, but it does introduce the problem of how to handle a large number of images.
Culling images in Adobe Lightroom is an essential step in the photographic workflow, helping photographers to efficiently sort through large batches of photos and select the best ones for further editing. In this article we are going to cover the approach that I take to select photos before they even get to the post-processing stage.
Initial Import and Organisation
Prior to starting the import I will set up a new folder structure with the top level identifying the shoot and then a subfolder that will hold the files from the camera. For a typical model shoot it will look like this:
Pictures Models ModelName RAW
The software I use to import photos depends on whether they are on single or multiple cards. In the case of a single card I let Lightroom import them directly from the card reader, with the instruction to COPY them to my hard drive RAW folder.
If multiple cards have been used (such as in the case of a wedding) I use Adobe Bridge to do the transfer to the computer and then I use Lightroom to import the files, but this time I get them to ADD to the catalogue rather than COPY or MOVE.
I have created a Metadata Preset that holds copyright information and this is selected during the import process, as well as any keywords that apply to all images being imported.
Backup
Before you even start the culling/editing process, ensure that you have a backup of the images.
Keyboard shortcuts
While many people solely use their mouse or table to navigate the programme, a much faster way is to learn the keyboard shortcuts available. While Lightroom has many, these are the main ones that are used in the initial selection process.
View modes
(G) Grid View – this switches to the standard view in the Library module to see thumbnails of all your photos. This view helps to quickly scan through large numbers of images.
(E) Loupe View – this lets you get a closer view of individual images. It is useful for evaluating sharpness and other details.
Please note that while (D) Develop does the same thing, in that it bring up a single image, it is actually slower. Plus at this stage I am in the selection process.
(C) Compare View - used to directly compare two images side by side. This is useful for deciding between similar shots.
One thing to watch with the Compare view is that it will always display two images based on the filter set.
(N) Survey View – lets you see multiple images at once and eliminate weaker ones until you narrow down to the best. The size of each image will depend on the number of images being displayed.
Flagging & Rating
Flags enable you to quickly mark photos as keepers or rejects. This is a fast way to go through your images initially.
(P) Flag as Pick
(X) Flag as Reject
Star Rating
The star rating system enables you to rank your photos based on their quality and potential. It helps in further narrowing down your selection.
1-5: Assign star rating
Colour Labels
Assign colour labels to organise photos based on different criteria, such as editing priority or thematic grouping.
6-9: Assign colour labels
How many images do you want?
This may seem a strange question, but if you have an idea about the number of images you want out of a particular shoot, then it will help with how ruthless your culling process needs to be. If I am shooting a concept for my own use I will generally only look for up to 10 final images.
For my normal two hours model portfolio shoot, I will generally take between 250 and 400 photos and deliver 30-40 to the model at a draft stage. Of these 10-15 will receive the full editing treatment. For a wedding I could be dealing with over 3,000 images; of these I am likely to deliver 30 fully polished images together with 500 to 600 images that tell the story of the day.
My culling process
For the purpose of this article I am referring to a model session. I will be delivering 3040 images with a minimum edit, and ask the model to choose a final 10-15 for full edit.
After I have imported the images into Lightroom, I follow this process:
1. I open in library view and skim down for any images with obvious issues, even when viewed as a thumbnail. As I mainly shoot in studio this will be a light not firing. These images are marked with a X. Once this process is complete I will go into the menu under Photo : Delete Rejected Photos and remove all the images.
2. I then select the first image in the set and press E to open it full screen.
3. I work through each image and check that the image appears to be in focus where I want it to be.
This may mean zooming into the image to check, especially if I suspect that it will be cropped later. Any that are not in focus I hit X on the keyboard to set them as rejected. Once this process is complete I will go again into the menu under Photo : Delete Rejected Photos and remove all of these images.
4. Now that all the “dud” images are dealt with I will then start to rate them. In order to concentrate only on images that I have not reviewed, I will generally have the library filtered to only display “Unrated” images.
5. Initially I only use a rating of 1 to 3, where “1” is an image that will go now further while “3” is a definite keeper at this stage. “2” is reserved for images that could be considered to fill in a story.
6. The images from my shoots tend to fall into natural groups (such as an outfit or a pose) so I tend to use the C-Compare or N-Survey View to look at multiple images at once.
7. Once there are no more images to rate, I will change the Filter to show “Rated” and then choose the Three Star option but set the test to show only those that equal that rating. This will reveal how many images have passed the first stage.
I always set the filter to equal the number, rather than the other two options.
8. Depending on the number that I am looking for, I may need to repeat the process again and again until I reach the desired number.
In the event that I do not have sufficient numbers I will change the filter to show the images rated "2" and see if I can find some to elevate.
9. I then make global adjustments to the images, such as exposure and white balance, and I will crop to the size that the final images are likely to be delivered for, which in most cases is for social media.
10. I will then export the images as a low resolution file and send it to the model to choose the final ones. I do this as ultimately the images are for them and therefore they should have the final say.
11. When the model comes back with their selection I change the rating of the photo to 4 and then start the final edits. Once the process is complete, the image is changed to a rating of 5.
Be Decisive
The major piece of advice I will give is that, at the culling stage, making quick decisions keeps the culling process efficient. Trust your instincts and avoid over-thinking each choice.
Useful Resources
by Paul Whitham LPSNZ
There are literally hundreds of books and thousands of video resources online to help with post-processing. Listed below are those that I subscribe to. They post regular content, both on Lightroom and Photoshop.
YouTube Channels (free)
Antti Karppinen https://www.youtube.com/channel/UCir13Zf_KMjGIYikQh_BuUA
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 offered by our corporate partners and associated companies.
Discounts for major NZIPP events as a PSNZ member.
Ability to join a PSNZ Print Circle.
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Post-Processing Nature Images
With Toya Heatley FPSNZ AFIAP
Just as, in the past, the magic happened in the developing lab, now we can bring out the best in our images at home on our personal laptops and PCs. I know that while I use a great camera, I still need to learn the techniques to take the information that the camera has captured and turn it into the image my mind captured. Sometimes it is just a couple of tweaks, other times a little more. I choose to photograph RAW images, allowing me to process the image to suit my personal style. Regardless of what is done, it is most definitely a part of the photographic process.
For a nature photographer, the amount of processing is often much less than with most other genres. In nature competitions we are very limited in how much processing is allowed, so I keep my post-processing to a minimum. I probably spend more time culling out the images I don’t wish to keep, than I do processing the ones I do keep.
Removing Noise
This is one of the most important parts of my post processing. I use high ISO a lot and often it is in low light bush conditions. Noise reduction is the first step in my processing workflow; if the image doesn’t produce good results with this, it is trashed. Noise reduction is permitted in nature competition rules and will often give the image more of a polished, clean look without being obvious if done correctly.
Removing Distractions
Nature rules do not permit any removal that changes the original content of the image presented, other than dust spots and the like. Cropping is permitted and is an essential part of processing my images. There are almost always distractions in the image that I want to remove. I do this by cropping, which allows me to bring the focus of the image onto the subject and not onto any distracting branches. I use a square crop most of the time as a personal preference, and it gives me more flexibility in cropping away from unnecessary objects.
Contrast and Colour
When the RAW image comes straight out of the camera it has no processing done to it, but it has a huge amount of information within it that can be tweaked. Adjusting the levels in Lightroom and/or Photoshop allows me to give the image a bit more “punch”, to brighten the colours and add contrast exactly how I wanted the image to look. Again, this is permitted within nature rules. It is not changing the content of the image; it is just adjusting the light and contrast.
My Software Choices
The software we use is entirely a personal choice and there are many different packages to choose from. Here are my preferences.
¾ Lightroom and PhotoshopPhotographers Subscription Plan
The basis of all my processing tools starts with this software set. I like that my software is always up to date, that I can use it on both my main PC and my travel laptop. Everything starts and finishes with Lightroom and Photoshop for me.
¾ DXO PureRAW 4
I did use the previous versions of this program with some success. However, since upgrading to PureRAW3, and now PureRAW4, I wouldn’t be without it. It now works as a plugin for Lightroom, making it much easier to add it into my regular workflow. Almost all the images I put through this process will not require any more de-noising, which is a bonus when using high ISO settings in low light. It was recommended to
me by other bird photographers, and I am thankful that I followed up on their recommendations.
¾ Topaz De-Noise
There are always going to be some images that need a little more de-noise tweaking, even after going through PureRAW. This is where I use the Topaz Labs De-Noise AI plugin for Photoshop. I love how this product makes what used to be a hard job, very easy. It gives my image such a clean finish and allows me to push my camera to really high ISO levels, knowing that it won’t be an issue. Topaz products come as standalone as well as plugins for both Photoshop and Lightroom, making the whole process very easy. This product is no longer available; however, I still own my copy and use it when required. It should be noted that the AI in the title of this product can be viewed as a preset. It is not generating content; it is just speeding up the de-noise process.
You can find the PSNZ nature editing guidelines at https:// photography.org.nz/about/ definitions/.
AV Notes
By Trish McAuslan FPSNZ AV-AAPS EFIAP/b FAPS Coordinator of Audio-Visuals for PSNZ
Tauranga AV Salon
This year’s salon attracted eighty-four entries from nine different countries. What a fabulous weekend we had, watching and judging so many interesting audio-visuals. It was really pleasing that there were twenty-four entries from fifteen New Zealanders. The most successful AV worker was Vivianne Baldwin FPSNZ AFIAP who entered three audiovisuals, gaining one acceptance and two Merit Awards.
Vivianne also won the NZ Novice Medal for the best entry by a NZ author who had not had a successful entry in this salon before. The other successful NZ entrants were Paul Byrne FPSNZ ARPS AFIAP with two Merit awards, and Helen MacLeod FPSNZ GPSA ARPS with one Merit award. Acceptances were gained by David Smith FPSNZ, Carolyn Hope FPSNZ, Paul Glenton LPSNZ, Sheryl Williams APSNZ, John Smart APSNZ, Paul Hibbs and Bob McCree FPSNZ. Congratulations to everyone who was successful.
This is our final salon and, after fourteen years, we are really sorry to see the end. However, over the years the original group has dwindled as people moved away or age and health issues made it impossible for them to continue. New members have joined us but not in sufficient numbers to maintain the salon. This is not the end of our involvement in audio-visuals. We hope that there will now be time for us to meet as a group and put our efforts into creating AVs, rather than being concerned with all the arrangements that have to be made to run a successful salon.
Challenge 321
The process for this salon is a long one. Entries open in January and close in midMarch. Judging takes place from late March through to mid-June when finally we have some results. There were 90 entries from 12 countries so competition was strong. Congratulations to the three New Zealanders who entered. Paul Byrne (22nd) was the highest placed, followed by Bob McCree (36th) and Paul Glenton (55th).
Jack Sprosen Memorial Trophy Competition 2024
The JSMT is the next big NZ AV competition. It is important that as many people as possible enter so that we can keep this competition going. Entries will open on 1 October and close on 4 November 2024. Judging will take place on the weekend of 16 or 17 November with results available by 22 November.
Here is a summary of the rule changes for 2024. Full details are in the June issue of CameraTalk.
1. There will be one open category.
2. The maximum length of any audio-visual entered is seven minutes.
3. The awards will change to Gold + Trophy, Silver and Bronze and up to three Merit Certificates
4. AI-generated images are not allowed. The use of an AI-generated voice for reading a script and the inclusion of AI-generated music are allowed.
Online AV Group
The first meeting of the Online AV Group was held by Zoom in mid-July. At the meeting Paul Byrne demonstrated how to make an introduction using Keynote and Trish McAuslan took a session on video basics for AV workers. The meeting finished with a challenge to complete before the next meeting which is set down for Wednesday, 18 September. Twenty-nine people have joined the group and there is room for more members. If you are interested, contact Trish (mcauslanav@gmail.com).
Save the Date
National Convention 2025
1-4 May 2025
Rutherford Hotel
Nelson
A Journey to Fellowship in Photography
By Karl Tretheway FPSNZ
In the realm of photography, achieving a Fellowship is not merely a recognition of technical skill, but a testament to perseverance, creativity, and the ability to adapt. My own journey to Fellowship through the Photographic Society of New Zealand (PSNZ) was a profound experience, one that unfolded amidst unexpected challenges and personal trials.
The Birth of an Idea "Restricted in Time"
The source of my Fellowship project, titled "Restricted in Time", stemmed from a trip to the Kruger National Park in South Africa.
With hopes and visions of photographing the big cats – lions, leopards and cheetahs – I discovered that recent rains in the park had made the grass grow, the African bush thick and lush, severely hindering sightings of these majestic animals.
Added to this, fires had ravaged parts of the grasslands, leaving in its wake massive areas of still smouldering land.
With my vision and reality not aligning, I had to refocus and challenge myself to make the most of what was on offer.
I soon realised that Kruger National Park was awash with opportunity. The many and varied birds within the park were flourishing in these particular conditions.
Adapting to Circumstances
Confined to the constraints of a small suburban car (who would even want to get out of the car with lions around), restricted to designated roads, and battling with the limitations of my equipment and positioning, I embarked on a new quest.
This time, my lens was trained on the diversity of birds in Kruger Park.
Each moment became an opportunity to capture the essence of these birds as they thrived in their natural habitat. The resulting panel showcased 18 different bird species, each frozen in time amidst their feast on the park's bounty.
Challenges Beyond Photography
Returning from South Africa should have marked the culmination of my photographic odyssey. However, life had other plans. A diagnosis of Melanoma cancer shifted my perspective yet again. Suddenly, deadlines took on a new urgency, and the support of my friends became a welcome anchor. Their encouragement spurred me to refine and present my work despite the challenges.
Crafting a Photographic Legacy
The process of curating my images into a cohesive narrative was both a challenge and a cathartic experience. While I yearned for better conditions and perfect shots, the imperfections of reality imbued my work with authenticity.
My project became not just a collection of photographs, but a testament to resilience, creativity, and the unyielding pursuit of excellence. Thank you to both Annemarie Clinton APSNZ and Annette Johnston FPSNZ for your input and an extra set of eyes.
Conclusion: Beyond Fellowship
Achieving Fellowship in photography is not simply about the accolade. It represents a culmination of moments, challenges, and personal growth. My journey with PSNZ taught me invaluable lessons about adaptation, creativity, and the power of support. As I continue to evolve as a photographer, I carry forward the lessons learned from Kruger – that beauty and opportunity often emerge from unexpected places and circumstances.
In retrospect, "Restricted in Time" was more than a photographic project; it was a journey of self-discovery and a testament to the transformative power of art in the face of adversity.
Artist Statement
Restricted in Time
Seven Days in the Kruger National Park, South Africa.
With hopes and visions of photographing the big cats, I discovered that recent rains in the park had made the grass grow, and the bush thick and lush, severely hindering sightings of these majestic animals. Added to this, fires had ravaged parts of the grasslands, leaving in its wake massive areas of still smouldering land.
With my visions and reality not aligning, I had to refocus and challenge myself to make the most of what was on offer. I soon realised that Kruger National Park was awash with opportunity. The many and varied birds within this park were flourishing in these particular conditions.
Confined and restricted to the driver’s seat of a small suburban car, limited by my position in the car, and the fact that I could only be on the prescribed roads, I nevertheless set out with a defined purpose: to find and photograph birds, and to record the birds as they feasted upon the bounty of the park, at this particular time.
This panel features eighteen different species of bird, each one caught in that fleeting moment as they captured their particular delight.
Bateleur
African Stonechat
Southern Yellow-billed Hornbill
Red-billed Hornbill
White-fronted Bee-eater
Woodland Kingfisher
Brown-headed Parrot
White-bellied Sunbird
Dark-capped Bulbul
Lilac-breasted Roller
Burchells Starling
White-crested Helmutshrike
Southern Ground Hornbill
Green Wood Hoopoe
Brown-hooded Kingfisher
Grey Lourie
Arrow-marked Babbler
African Fish Eagle
Letter to the Editor
Dunedin
Sir,
Early this morning I caught up with reading my back copies of CameraTalk and read Lindsay Stockbridge’s article about AMD (Age-related Macular Degeneration) with great interest. I am now 75 and in reasonably good health. My experience with eyesight is different to AMD but I suspect similar to many older people.
I had a cataract removed from my left eye in January. I had reached the point where I struggled to read the words on the TV and computer screen. The optician who I see regularly agreed that my cataract had become bad enough to have it removed from my left eye.
The transformation is outstanding. I can read clearly again, using an old prescription of glasses. I am enjoying my photography again after losing interest because I could not see too well with either the viewfinder or the “live view”.
The reason for my letter is to encourage the publication of articles outlining the results following treatment for AMD and possibly broadening them to include other eye conditions that affect photographers.
I will be quite happy to outline my journey to cataract removal, which was extraordinarily easy in the end, and to help reassure people of the benefits of this surgery.
We’ve just marked the 55th anniversary of the Apollo XI mission, the first to land humans on the surface of the Moon. The Moon is an often-overlooked target for astrophotographers who would usually prefer its absence in order to capture light’s photons from much further away. Indeed, light from the Moon takes just 1.3 seconds to reach us on average.
I find the Moon to be a beautiful subject to photograph, whether on its own or as part of a wider concept with the Moon a supporting element to the landscape.
The rarest photographs are, of course, made during the New Moon phase when the Moon passes directly in front of the Sun, forming a total solar eclipse. I’m yet to see this celestial phenomenon for myself but am looking forward to July 2028, when New Zealand is in line to experience a total solar eclipse on a path running from Milford Sound to Dunedin.
As the Moon orbits the Earth, we see an increasing amount of illumination on the near side. This illumination is provided by direct sunlight. When the Moon is in its early waxing crescent phases, a slender crescent Moon hangs low in the western skies, just after sunset. Yet we are still able to see the rest of the near side that lies in shadow. This is caused by sunlight being reflected from the Earth back to the Moon and gives rise to an effect known as Earthshine.
It makes for a number of beautiful elements to a wider landscape photograph: the brightness of the Crescent Moon, the soft Earthshine effect, the deep blues of the twilight sky, and the brightest stars and planets coming into view.
As more and more of the Moon’s surface is exposed to sunlight, the brightness of the Moon increases dramatically.
Without an atmosphere to scatter light, there is no soft boundary between night and day as there is on Earth.
A harsh line separating light from dark is instead seen and is known as the terminator line. Craters along the terminator are thrown into sharp relief and make for a magnificent view through a telephoto lens or telescope.
As we leave the First Quarter phase, we head into the Waxing Gibbous phase. The Moon grows brighter and brighter from night to night, slowly moving eastward across the sky until it’s visible for most of the night.
Eventually the Moon reaches the midpoint of its orbit where the near side is fully lit by direct sunlight and is known as the Full Moon.
Different cultures around the world identify each Full Moon by a different name throughout the year, as they’re often tied to important milestones such as in agricultural calendars, for example.
Without a terminator line to cast craters into relief, the Full Moon is considered to be rather “flat”, the equivalent of shooting at midday and effectively, this is what you’re doing, you’re viewing the Moon at the midpoint of its cycle.
However, the Full Moon is no less interesting to photograph.
With the advent of apps like Planit Pro and Photopills, photographers can now plan compositions with incredible precision.
Provided you can put yourself in the right place at the right time, you can align the rising or setting Moon with terrestrial landmarks.
Many of you will remember Mark Gee’s stunning video Full Moon Silhouettes , released in 2013. If you haven’t seen it, please look it up on YouTube.
A truly compelling watch. Mark persevered with the concept of using high magnification optics set at a great distance from his intended foreground to allow us to enjoy, in real time, the spectacle of the Moon rising in the background.
The Moon dwarfs those watching it, but it plays on the ever-present optical illusion that the Moon appears larger nearer the horizon and recognisable land features.
Around the Full Moon phase is a great time to look for the Moon lying in the Belt of Venus.
This beautiful time of day lasts for mere minutes on the opposite side of the sky just before sunrise or just after sunset. It’s when you’ll observe a soft band of pastel pinks against the dark blue band of the shadow of our own earth cast onto the atmosphere.
On occasion, the Full Moon will travel through the shadow of the Earth, causing a lunar eclipse. During the partial phases of such eclipses, the earth’s shadow appears to take a bite out of the lunar surface.
However during the total phases of a lunar eclipse, the Moon, now fully covered by the Earth’s shadow, often takes on a rusty redorange colour and without direct sunlight to illuminate it, a much dimmer Full Moon now hangs in the sky against a backdrop of stars.
Moving into the second half of the 29.5 day lunar cycle, we find the Moon continues to rise later each night as it moves through the Waning Gibbous phase towards the Third Quarter. Once again, as the terminator slowly sweeps across the lunar surface from night to night, a new line of craters is revealed in harsh detail.
The Waning (or Waxing) Crescent phases make an opportune time to photograph landscapes rendered with natural lighting. These crescent phases are ideal as the Moon casts sufficient light to illuminate dark foregrounds, without being so bright as to make the viewer think they’re looking at images photographed during the daylight hours. I find 20-30% illumination is ideal for these compositions.
And as the monthly cycle draws to a close, the narrow crescent of the waxing Moon can be seen in the pre-dawn eastern sky a magnificent jewel heralding the arrival of the Sun to start a new day.
Hopefully, this article demonstrates the depth of photographic opportunities awaiting the photographer ready to embrace our closest celestial neighbour. Many of these opportunities don’t require you to use equipment any more advanced than what you already own. The next article will cover the photographic techniques needed to bring these compositions to life, so start thinking about ways in which you might like to incorporate la lune into your photography.
Congratulations to Paul Donegan, winner of the Canon Online round 5 for 2023. There were 111 entries in this round.
About Paul and his winning image...
I am a retired person who is loving the time to devote to photography. It combines with my interest in travel, allowing me to record and develop images. I am a member of the Hibiscus Photography Club which really helps my development.
The image was taken in Uganda after a trip across Lake Bunyonyi and a hike up into the hills where the Batwa Pygmies live. The Batwa Pygmies are a group of people found in Uganda and known for their short stature. They live around the protected forest reserves of Bwindi and Mgahinga national parks. Often referred to as the “keepers of the forests”, the Batwa Pygmies are believed to have been the first inhabitants of the East African great lakes region.
This boy’s intensity caught my attention and he was actually happy to interact.
The judge for this round was Troy Baker.
Troy writes: With a love of photography, I consider myself extremely lucky to have worked full time as a photojournalist for over 17 years. Of course, as this world opened up seemingly endless possibilities, I quickly added
commercial and weddings to the mix, as well as a dabble in sports. This sees me travelling around the country and Australasia, shooting commercial and sporting events, with great experiences but a drain on the mind and body.
I have always had an interest in telling stories, so creating conceptual images purely for the pleasure of it became a vital escape from the day-to-day assignments that put food on the table. I found one kept me sharp while the other kept me fresh – a complementary mix.
Discovering a narrative within an image is a key element for me and is one that can push a good image to an even greater height. It takes it beyond the visual and allows a path on which the viewer can connect on many levels.
Judging is a way of giving something that I never had when I started this journey and I certainly hope I was able to help in some way, no matter how small. Please remember to be wary of those who sit in judgment; take from it what you will and feel free to ignore what you wish. In the end I hope it at least provides you with a different perspective and helps in some way as you continue your journey.
I thank you for allowing me the privilege to look over your work.
Judge’s Comments
It was a challenge to take ten from a group of so many top tier images but I do find it heartening to see such a good standard of imagery within PSNZ.
1st Intensity by Paul Donegan
One’s lived existence varies in experience depending on the where, how and why. This image speaks volumes to all those factors. I see a tortured acceptance of what is and has been. A portrait that speaks volumes on many levels. It’s tragic in its glorious mono greatness.
2nd Arise by Winding Stair by Roger Ball LPSNZ
A stunning visual vortex, drawing the eye with a designed fluidity into what resembles a drain. Almost symbiotic of either the human ascent or descent into humanity. A great mono that ensures colour has no chance to take from what light and shadow have to offer. A well crafted and well seen architectural image which just drew me in.
4th Another One Dog Knight by Wendy Pemberton LPSNZ
A clever insight into small dog syndrome. I am sure my Pomeranian believes it’s of an AOS pedigree when anything moves. The amour is in complete contrast to the fluffball it encompasses and yet they fit together so well. A lovely mono composite, highlighting both cuteness and strength.
3rd Sparks and Flame and Smoke by Jennifer
Burton
A world exists that is largely unseen, hidden by its fleetingness, yet still a wonder to behold. Fire, smoke and flame join in partnership in this hidden world that exists out of human sight. A well-executed image which surely sits atop a pile of used matches as you strove to capture to perfect the result.
5th Centre Court Shadow Play by Liz Hardley FPSNZ GMAPS EFIAP/p EPSA LRPS
The main ingredient in any image is light. When we look closely, we soon realise it’s the basic elements of light, dark, shape, texture etc that need to show themselves in just the right way before we can make a picture. Here is just such a mix. It makes me stop and appreciate the simple elements and how they can combine to truly complement each other.
Bob Scott LPSNZ
This initially drew me to what looked to be a wave of fire rolling across the land. I feel I wasn’t not too far from my initial reaction. The fire-like hues flowing over every surface result in an apocalyptic-styled image, the final phase of global warming. A stunning colour palette, morning steam mimicking smoke, golden skies – they all speak of the end of days.
7th Final Resting Place
by
Penny Kennedy LPSNZ
A statement on fragility, loss and global warming. In beauty there is decay, as the ice takes on an animal-like figure, head raised in the throes of death. A beautiful image, capturing the strength and delicacy of our planet. A lovely capture with a focused title that speaks of the world we live in.
6th Lake Rotorua Dawn by
9th Cost Of Happiness by Sachin
Unnikrishnan
A simplistic image, chaotic, candid, almost resulting in the struggles of one man to remain unseen. Maybe I was being drawn to the chaos, but this image really speaks to me of a man’s willingness to do whatever needs to be done for the sake of others. The under-appreciated, the invisible who struggle every day. A powerful image which truly speaks of existence.
8th Reminiscing by Sharon
Souproanuck LPSNZ
Growing old can be a lonely existence. I see a lonely man, partner no longer by his side, with old photos and memories to keep him company. The mono hints of colour long faded from his life, so these memories provide regular comfort. An image that truly encapsulated a good story.
10th After Rain by Heather Shuker
“Never give up” – a mantra I was encouraged to live by. It took me a while to adopt “Know when to give up”. It all seems too late for this leaf, beautiful in its end-of-life colours and laced with life-giving water that has arrived too late. Water drops pulling forth textures and, while adding its own textual element, adds to the depth while adding a visual land pad. Great colouring and DOF to create a truly lovely piece.
Special Feature - Index
We have included Special Features in issues of CameraTalk since 2017. To help you find previous ones the table below outlines the issue each one has appeared in. Previous issue of CameraTalk can be found at https://photography.org.nz/events-and-publications/cameratalk/
Feature Issue
Astrophotography
August 2018
Compositing October 2020
Conceptual Photography April 2024
Do it in Camera
April 2021
Event Photography February 2020
FIAP Morocco August 2019
Film December 2022
Fine Art Printing
October 2022
ICM December 2020
Landscape Photography February 2018, October 2021 & August 2022
