CameraTalk December 2022

PRESIDENT

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

SECRETARY

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

EDITOR & ADVERTISING

Richard Laing m. 03 327 0485 c. 021 0248 0157 e. rlaing@mac.com

SUBEDITOR

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

GRAPHIC DESIGN

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

NEXT CAMERATALK DEADLINE

25 January 2023

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: Kotukutuku fuchsia, by Stuart Clook

In this issue

The December 2022 issue of CameraTalk again features a diverse range of topics, including a couple of articles on film photography, results and roundups of the Nelson Triptych Salon and the National Portrait Salon, and final reports and a wrap-up of this year’s PSNZ workshop series.

• A few articles on film photography — it still has a place in a digital world.

• An interview with Rachael Smith, the driving force behind Rāhera Creative

• Reports on recent PSNZ Creative Portraiture and Bird Photography workshops, and a wrap-up for the year

• Results from the Nelson Triptych Salon and the first National Portrait Salon

• FIAP updates

• AV update and a tutorial on using GarageBand

• News and notices

• Canon Online Round 5 results.

Our next Issue (February 2023): Hard to believe that 2023 is almost here already! We are looking at plans for next year’s CameraTalk and would love to hear from you.

A Note from the President

As I start to write, Christmas songs are playing in the background at work, the shops are all decorated and Santa is even available for photos at the local mall. And it is not even the end of November! Once they get past advertising their Black Friday deals we will be inundated with ads about what to buy for Christmas.

I am sure that I am not alone in wondering where this year has gone, and it is at this time that we take stock of what we have achieved.

There is no doubt that 2022 has been a very difficult year for many people and, quite frankly, I am sick of the news media trying to elevate every issue into a crisis. Our Society has not been exempt from the challenges of 2022. Covid has continued to play havoc with activities we could organise, and this has particularly affected our ability to hold events in person, including conventions and judge training weekends.

The one exception was the workshop series which has continued the success of previous years. A lot of effort goes into the planning and organisation of these events by Councillor Karen Moffat-Mcleod APSNZ, Jayne Parker and Nicole Tai, along with the many presenters who have given up their time and expertise for our members. Planning is well underway for the 2023 series, and the first one opened and filled up very quickly.

Challenges give rise to opportunities, and it was great to see the team behind the judge training weekends modify their planning to deliver them using Zoom after the one planned for Taupō had to be cancelled. This will continue next year, although we will try to have at least one in-person event. Zoom lets us offer the courses without the limitation of travel, however, we do recognise that it will never be as good as when you can get people together.

Planning for the North Island and South Island conventions is well underway and I’m already looking forward to meeting members in April and May 2023. Registrations will open early in the New Year — so keep an eye out. The convention in Whangārei will be the first event to be run in the old Northern regional area since 2014, so I am hoping that members get behind and support it.

PSNZ would not exist if it weren’t for the many members who support the organisation at various levels. I want to express my thanks for all of the work that they did in 2022 and will continue in the New Year.

Sadly, 2022 was a year in which we lost twelve members, including the four involved in the Kaikōura boating tragedy. It may be an indication of my age, or the average age of the people that I now associate with, that over the last six months I have been to more funerals than I would’ve liked.

The one commonality between these events tended to be slide shows of happy people and happy times. If any of these images were submitted for judging the term “snapshot” would be used — and not in a constructive way. But they are more than snapshots. They are important history that will exist long after we have gone. The same will probably not be said of the award-winning images we take so much time and energy to make.

With the holiday season approaching, I encourage you to get your camera out and just record what is around us as we all enjoy the festive season. A Merry Christmas and a Happy New Year to you all.

Paul Whitham APSNZ

PSNZ Membership Benefits

• Expert advice to help improve your photography.

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

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

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

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

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

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

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

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

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

• Ability to promote your website on our website.

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

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

• Discounts for major NZIPP events as a PSNZ member.

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

Film Photography

By Mark Brimblecombe

If you started photography 25 years ago, or before, then you used a film camera. Since then, nearly all of us have transitioned to digital. Modern digital cameras are amazing. But so are film cameras. The process of making photos with film is different. This is an opinion piece, not a technical review, or even an answer to that stupid question, ‘Is digital better than film, or vice versa?’ They are different, like apples and oranges.

An analogy is that of using a car. Some people who use modern vehicles also have vintage cars. Both get you to a destination, but the experience of getting there is much different. For me the “film” experience is more enjoyable than the digital, partly because I make thousands of digital photos every week in my work. This is important to me, considering what Susan Sontag said about photographs: ‘They are experiences captured.’

From both the experience perspective and the outcome (the photograph), film photography is great because it is slow and not rushed. With digital one shoots hundreds if not thousands of photos on a shoot and returns home with perhaps 20 reasonably good photos after lengthy processing. With film, I typically get six to ten great photos from a roll of 36, with very little processing. Back in the 1980s, I did wedding photography with film six rolls of 36 (216 photos, all perfectly exposed by the way), and that was all that was needed for making up an album of prints. Now I shoot weddings in digital, sometimes with more than 2,000 photos, and I end up with maybe 60 great photos! Why? I’m shooting very quickly and not thinking enough about composition, exposure settings, etc. Besides that, it takes more than a day to process a few thousand digital photos. Sigh…

Film photography is by nature a slow process, and one can argue better, like slow cooking or matured wine. There’s no LCD screen on the back of the camera, so no instant results. You get to see your results a week or two after clicking the shutter button. There’s a “gestation” period.

Shooting film is slow in other respects too. I love Ilford FP4 and Ilford Delta 100 film, both 100 ISO. Ilford PanF is 50 ISO, and Rollei PRX 25 is 25 ISO. So, often a slow/long shutter speed is required with the camera on a tripod. There’s more time to consider the best composition and a desired exposure. I nearly always use an incident light meter to get the perfect exposure.

One of the lovely things about film is the grain texture, which is nothing like the “noise” in a digital photo. Low ISO film is very fine, so the grain is barely visible. But it’s there, and it’s beautiful. Another great thing about film is that you don’t get “blown out” highlights, the bright blobs when the pixels on the digital sensor can’t cope. With film (analogue) you record an infinite range of tones to pure white.

Once upon a time, I did the chemical processing of the film myself, and then scanned the negatives for bringing them into the “digital” darkroom. But now I just send the film off to The Black and White Box in Auckland for developing and high-resolution scans of the 35mm negatives (costing $36.00). They send me, via email/WeTransfer, the scanned negatives as 30.4 megapixel TIFF files. I then import them into Adobe Lightroom for a few minor tweaks. This is not expensive less than $2.00 per photo, including courier charges and the cost of the film itself. The known cost of creating your pictures is another reason why you tend to slow down and consider each shot carefully.

Film Photography

By Mark Brimblecombe

Back in the 1980s I had a Canon AE1, EF, and the amazing F1. Now I have a Nikon F5 (purchased for $500.00) which attaches to my existing Nikon lenses, the lenses that I use for my digital work (14-24mm, 24-70mm, and 70-200mm). I also have two of the best mirrorless cameras, both Voigtländers with optical viewfinders (unlike watching a TV with the digital mirrorless) and each with Voigtländer 35mm f/1.2 manual focus lenses. These are great for street photography. I may buy a medium format film camera (a 6x6 Hasselblad) or a large format camera (4x5” or 8x10”) when I grow up, however I’m not yet ready to grow up. The 35mm film camera is great for all I want to do, and a relief from using digital “Instamatics”.

Some years ago, I set up a Facebook group for film photographers in New Zealand. We now have 1,292 members, many of whom are active photographers and willing to help novices. Perhaps, one day, PSNZ will recognise the renaissance of film photography and promote film as well.

Mark Brimblecombe is a professional photographer based in Whanganui.He is a former member of PSNZ and an accredited “judge”.

You can see a collection of his film photography here: https://adobe.ly/3tCNWcs. Email him to “kick start” your experience with film photography: mark.brimblecombe@gmail.com

Why film?

By Stuart Clook

Why use technology from yesterday to make pictures when it costs you every time you trip the shutter? Especially when you don’t really know if you’ve got everything right until you get home.

Some of those worries can start to run through my mind even before I get back to the car, let alone when I have got back home. Was the exposure right, did I remember to account for reciprocity and the filter? Did I fog the film when I bungled loading that last roll or when the dark slide was a bit sticky going back into the holder? Did I have any film in the film holder? Yes, it has happened!

With only a limited amount of film that I can carry (or afford), I need to make sure that each exposure counts. The cost of a “good” negative is not that much in reality, less than a cup of coffee when I last worked it out. The cost of making mistakes, though, or when the scene didn’t really justify it, well that just keeps adding up.

You might think these are major disadvantages to using film, yet on the contrary, I believe they are some of its major benefits. Rattling off a dozen or more shots of the same scene just in case, or because you think it looks nice, onto one of your Gigabyte cards, then the drive to improve your photography, both artistically and technically, is not quite the same in my opinion.

Now, if you only have a couple of film holders with you, or a roll of film with a limited number of exposures, then I would suggest that you are much more likely to make a “good” picture, and maybe even a winner! Why? Because each exposure has to count.

I use film cameras, not just because they help me to make better photographs, but because I love working with these manual processes. By manual I mean it is me making the decisions; I am in total control and the only one to blame. To calculate the exposure setting you really have to study the scene and read the light

where it matters. Agreed, a film SLR can do all this automatically, but I don’t work with an SLR. The nearest to “automatic” is my MF rangefinder with a centre-weighted light meter. If I am walking about on holiday or have family celebrations I use it and it's great, otherwise, I will still use my spot meter to decide where I want detail or where I can blow the highlights or crunch the shadows if I need to. This way of working, especially with a large format camera, has a choreography all of its own. This act, or process, of making photographs with these cameras is all part of the experience and joy for me.

When I dive under that dark cloth the rest of the world goes out of mind. The day job, home? In fact, I stop thinking about everything else as I become totally focussed on what’s on the ground glass. Trying to find a solution to the scene, studying the edge of the frame, where to position the lens, that’s what’s important. Then I need to work out the exposure setting, how I am going to print and does that influence the composition? Round and round I go, in a sort of mental gymnastics, as I try to find the “ahh-haa” moment. This is what I really enjoy when I have my camera with me.

Would I get the same joy and satisfaction with a digital camera? I don’t think so. I have not used any of the digital medium or large format cameras with a digital back, and besides, these cameras are way outside my budget to consider.

Camera cost raises another plus for film cameras. There is a huge range: small ones, big ones, all sorts of formats, newish ones and very old ones. From “free to a good home” to some you wouldn’t want your other half to know about. So, if you are afflicted with the GAS syndrome, film may be your answer.

Dune- Platinum palladium

Why film?

How do I make my pictures? Even before I get the camera out, I ask, ‘Is the scene worth it, can I make it count? Can I find a composition that works, will it say what I want it to, or express how I feel? This usually gets me thinking about how I am going to print the image as well; this can and often does influence how I work with the camera.

If I have my MF camera with me, then I have a viewfinder I can use to help. When I am using my 4x5 camera, which doesn’t have a viewfinder, I use an old Linhof viewfinder on a lanyard (that I picked up on eBay) to compose the scene, help work out where to put the tripod and which lens to use. Setting up the 4x5 takes time, so I’ll only get the camera out when I think I have something worthy. If I am travelling light(er) then I will likely have one of my pinhole cameras with me. These are literally wooden boxes, and I have drawn a couple of sight lines on the box from the corners to where the pinhole is to help frame the scene.

To work out my exposures I have an old Minolta spot meter and I use the same zone system to calculate my exposures that Ansell Adams used back in the day. I make notes in a small notebook on the exposure settings and development i.e N- or N+ etc. You could say my notes are the equivalent of a digital EXIF data.

I use B&W film most of the time, and develop at home using daylight tanks. I use Kodak HC110 to develop as it keeps for a very long time. I might mix up the compensating developer D-23, if the scene had a large dynamic range, to help manage the contrast. I can get better results this way, rather than N-2 or -3. I have just

received some 510 Pyro as well. I have yet to open and use it and I’m saving it for the holidays. This is a brandnew film developer that has generated a fair bit of hype.

It’s good to see that someone else can see a big enough market in film to launch a new developer. Speaking of new stuff, Ilford brought out a new darkroom paper earlier this year; so much for saying film is dead!

If I am going to print from the film negative, I have a couple of enlargers that go from 6x6 all the way up to 10x10 inches, although I work mostly with the Alternative printing processes. These are contact printing processes and require a negative the same size as the final print. To do this I digitise my film

Kotukutuku fuchsia- Platinum over silver leaf

for enlarging in Photoshop before printing digital negatives up to 16x20 inches. My workflow is something of an analogue and digital hybrid one; I like to think of it as yesterday's magic with today’s wizardry.

To digitise my film, I use my Nikon D800e with a 90mm macro lens on an inverted tripod. The film is held in a Negative Supply film holder on a good-quality light tablet. I usually take two or three shots per frame, depending on the negative size, and stitch in Lightroom. In PS I invert and adjust contrast and tones to suit. To print my digital negatives onto a transparency I use a converted Epson printer that uses up to seven shades of black Piezography ink and the QTR RIP. This printer setup allows me to make very accurate calibrations for the different printing processes I use. It’s very similar to making and using icc profiles that you would use when inkjet printing.

Working with a film camera, developing, scanning, printing digital negatives and making prints using lightsensitive emulsions that I have made and coated papers with, is what photography is all about to me. It is hard to describe, but it really is the “making” part that excites me. It’s what gets me out of bed and what keeps me awake at night. The problem-solving, the hands-on and the sense of achievement when it does all come together, keep me going back for more.

If you like exploring, experimenting, and enjoy the creating part, then I think film and analogue printing processes win hands down. You have more permutations and combinations than several lifetimes can explore.

You can follow my work at www.stuartclook.com and Instagram - stuart.clook.

Monowai - Carbon transfer

Learning to Process Film

By Chris Page LRPS

I have finally got around to something that I have been wanting to do for a while process my own film. Over the midterm break, I headed out with my father-in-law’s old Cosina CT-1G, equipped with a 50 mm Pentax lens. The camera is a well-travelled number, and in its day has been to Antarctica and back. For film, I used Ilford HP5 Plus.

Developing

Now I’m no expert at this, so please do not see this as a guide. I managed to mix the chemicals and followed a set of instructions found online. My wardrobe was emptied and turned into a darkroom for the fiddly part extracting the film from the camera and inserting it into the developing tank. Once the film was inside the tank, which is basically a light-sealed pot, I ran through the process of adding four different chemicals to develop and “set” the film.

Mixing old school with new school, I scanned the negatives and edited the photos in Lightroom. Perhaps one day I will go through the whole process in a darkroom and skip the computer completely. Click on the images below to see them in full.

Ditching digital?

I am probably not going to be ditching my trusty Sony anytime soon. However, this experience was fun; it slowed me down and taught me something new. I really like the final images, flaws and all. Having a fully manual camera certainly made the experience a challenge and is something I will keep working at. As they say, practice makes perfect, so take care and keep clicking!

Rachael Smith: Fine Art Photographer

By Aston Moss LPSNZ

CameraTalk recently had the opportunity to catch up with Rachael Smith, the driving force behind Rāhera Creative. Rachael runs workshops focussed on Fine Art Photography and Printing.

PSNZ was fortunate to have Rachael lead a workshop on the art and science of printing at the recent PSNZ CR Kennedy Awards Dinner. Thanks to the generous support of CR Kennedy, members who came to the dinner to celebrate achieving their honours were able to participate in the workshop.

A New Zealand native, originally from Te Puke but now dividing her time between Palmerston North and Auckland, Rachael has significant international experience under her belt, having lived in both the USA and in Asia but also having travelled through 30 different countries.

Rachael is highly qualified academically with a Master of Fine Arts (MFA) in Contemporary Art, and of course practically as well. Her work has seen her awarded an NZIPP Master of Photography with one gold bar, and she is an Ilford Master – one of only five women in the world who hold this distinction, and an Ilford Certified Printer.

Members who joined us in Hamilton for the workshop had the privilege of Rachael’s extensive knowledge and skills, in taking an image or developing an idea from capture and refinement through to life as a beautiful print.

Rachael, perhaps a few questions to help our readers get to know you a little better and to assist them to understand the alchemy that is print.

Q: How would you describe your photographic journey and if asked to identify some points, times that have been key to your growth as an artist, what would those be?

A: My photographic journey, yikes! I have always had a creative side, and I guess that has evolved in stages through maturity and life experience. When I was in my early 20s I started a signwriting business and worked with computer graphics and large-format print. Back then, I loved printing it fascinated me. Fast-forward to living overseas with a young family, all of the wonders of a strange environment and the way young children interact within it. My creative side grasped photography as a tool and ran with it. Skipping forward again, photography became a medium to voice through imagery an intensely difficult period of my life. Being able to “step away” from that environment, through making and processing images from it, gave me the ability to look at my situation from a more objective perspective. This was both cathartic and empowering. Creating an exhibition of large printed images was a way of bringing them back into the world in a format that I was in control of, but also a way for me to communicate all the emotions that I had been hiding.

Q: How would you describe the genres of photography that most inspire or satisfy you?

A: Eclectic and Diverse. I am fascinated by so many, I find the diversity of imagery available to us every day quite mind-blowing. I am drawn to images that push boundaries, prompt discussion or communicate in some way to the viewer. This is more important to me than technical skill. I feel that overthinking the technical can ruin a moment or steal the story away.

Q: Which photographers do you find particularly drawn to or inspired by?

A: This is another hard one. Again I have so many, in so many genres. To make this easier to answer I am going to limit myself to New Zealand photographers as we have such amazing homegrown talent. I find Marie Shannon’s art and skill as a visual communicator elegant, thought-provoking and fascinating. Photographic artists like Karolina Stus and Richard Wood I find inspirational. Both make very different styles of artwork, but both are constantly testing, pushing boundaries and experimenting within their practice – so much so that I look at what they create and think, ‘How the hell did they come up with that concept?’ I am also in awe of women like Meghan Maloney and Rachel Gillespie who are breaking ground in huge strides in the field of educational photographic adventures within New Zealand. Their tenacity and passion for what they do, and their ability to do it while raising a family, are outstanding.

Q: You work extensively with Ilford papers, and are an Ilford Master and an Ilford Certified Printer. What are the characteristics of Ilford papers that you find most attractive and make you want to use them?

A: I love printing. It was a natural progression for me to come back to the world of print once I began making photographs. I’ve been using Ilford papers exclusively for about seven years now. Throughout the entire Ilford range I achieve consistently great results, even with just the generic “canned” paper profiles. I love the large variety of paper options available from Ilford and I have printed on all of them (although new additions to the range are coming out all the time). I also love the more diverse Ilford products like the Ilford Creative Emulsion which can be used to create an inkjet receptive surface on any paper or fabric. It’s fantastic for me as I like to experiment with different ways to present images.

Q: For less experienced photographers, perhaps those starting out, what piece of advice would you share to help them on their journey?

A: Be part of a photographic community, whether it is your local camera club, PSNZ, NZIPP, an online group or a mixture of all of these (personally I prefer “in person” over online communities). Finding your “people” is such a powerful tool. I have learned so much, been encouraged, challenged, supported, have made lifelong friendships, and been on some amazing adventures because of this. It can be a little intimidating at first when you are new to things, don’t know anyone and begin to put yourself and your work out there. But once you put the effort in it will be rewarding. I wouldn’t be where I am now without my “NZIPP Family”.

Q: What’s the most common “Rookie” mistake you see made by photographers who would like to take an image through to print, but there’s something that makes it unsuitable or less than ideal to reproduce the way they ask?

A: I’m cracking up that you have used the term “Rookie” as that has been my Dad’s nickname for me since I was about 11, and I’m still learning things all the time. One of the most common issues I come across with print files is the aspect ratio and resizing an image. Often a print client will send me a file that is 3:2 ratio, and they ask me to print it as is but they specify a print size that is for example a 4:5 ratio, which won’t work without some form of cropping. Clients will also resize an image, but in a way that is destructive to the file, or pushing it beyond its capabilities.

...Rachael Smith: Fine Art Photographer

Q: What would be your top tip for readers wanting to produce a high-quality print from their chosen images?

A: Two things. If you are using an external print house then take the time to build a relationship with them. Find out how they prefer to receive files, sizing, format etc. Ask them if you need to do anything differently to get optimal results. Most print houses don’t have time to check each individual file, or they offer that as a premium service. Making sure you send the best file for their process can make a big difference.

If you are printing at home – create a printing routine. Calibrate, soft proof, use the correct paper profiles, or ideally create a custom profile for each paper you use. And triple-check your files for dust spots! Those little buggers turn up when you least expect them and are often more noticeable in print than on the screen.

Q: If we were to ask you to name one thing in your camera bag that you think is indispensable, what would that be?

A: This may sound lame but I always have to have a really good lens cloth with me. I can’t stand marks on my lenses, whether it is camera, phone or on my glasses. The other thing I always take along is the ability to adapt. I don’t like to carry much gear, and I find preconceived ideas about what a location may be like can ruin the ability to capture whatever beauty is handed to us. So, I always go with an open mind and the knowledge that, whatever I see, I have the ability to capture and communicate how it feels to me with whatever I have on hand.

Rachael, could you finish the following sentence for me with your own thoughts? Printing as an art form is:

A: Something we all should embrace. It’s intensely satisfying to hold an image that you have created.

Q: Do you have a favourite quote or saying, photography related, that you’d like to share with readers?

A: “The camera is an instrument that teaches people how to see without a camera.” Dorothea Lange

Q: Finally, what’s the best way for readers to get in touch with you if they are interested in joining you at a workshop or following your work?

A: Website, Insta, Vero, email all of the above, to help drive the sales funnel! My website is www.raheracreative. co.nz. My printing pricelist and file transfer platform are also there, under the “Print Service” tab.

Email address: rachael@raheracreative.co.nz

Instagram: https://www.instagram.com/raheracreative/ Facebook: https://www.facebook.com/raheraphotography

I am also on Vero as @raheracreative, although I am yet to post anything there. I’m still checking the platform out.

START SEEKING

Welcome to Our New PSNZ Members!

Rachel Jordan

Kathryn Nobbs Mark Harding Jill Towers Tianxiang (Tein) Liu Tharrin Way Lorenzo Kokx Julianne Andrews Susan Davies Anita Martin Janette Miller Demelza Mitchell Debra Metcalfe

Cliff Threadgold FPSNZ ARPS Daniel Exeter

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Humanity and Earth: The Whanganui Salon is back in early 2023

With PSNZ Sony National Exhibition shifting to October in 2023 we decided to move the Whanganui Salon forward to give photographers a challenge early in the year. The Whanganui Salon is for photographers who enjoy making meaningful images about our world and our interactions with it for better or worse. Being a boutique and thematic salon has given the Whanganui Salon a unique feel with visual imagery not typically seen in other national photography competitions.

Entries may be submitted by any New Zealand-based photographers in three subcategories. New in 2023 Aotearoa New Zealand Heritage for iconic images of our relationship with our place that are intrinsically Living in a Changing World and Humanity and the Natural World categories are unchanged from

Simon Woolf M.Photog is returning as a judge again in 2023 and will be joined by two new judges, Gail Stent FPSNZ from Auckland and David Oliver from Sydney. Our sponsors are back with prizes for the category winners and overall Salon winner. Many thanks to ProGear, Wellington Photographic Supplies and Print Art for their continued support of the Salon. The overall Salon winner will also receive the prized Whanganui Salon Vonnie Cave Gold Medal.

It is time to search for those special images that resonate with our Humanity and Earth theme. Entries are open from 29 March to 23 April. Full details can be found here: https://www.whanganuicameraclub.org.nz/whanganui-salon-2023.html

2021 Salon Winner: Escape from the Wire by Alan Martin

My Fellowship Journey Toya Heatley FPSNZ AFIAP

Back in 2014, my mother became a Fellow of the Photographic Society of New Zealand. She challenged me to get to the same level with my own photography. At that stage, I only had my Licentiate distinction, so I was two steps behind her. In 2018 I managed to get to the Associate level and that was when I started to think about how I was going to meet my mother's challenge. I was determined not only to gain the sought-after Fellowship, but to do so using Natural History/Nature images.

I chose to build my set around the images I already had of the majestic Australasian Gannets. I had been visiting them for many years and had several thousand images to sort through. It was when I started this process that I realised I was working back to front. I couldn't make a set out of the images I already had because they were not photographed with the end goal of becoming part of such an important set, or to tell a coherent story. So, I started with a storyboard so I knew exactly what I wanted to put into each of the 18 images. I chose to focus only on the birds when they were nesting rather than include birds in flight.

In the last two years, I have made several trips back to visit the gannets at different times during their breeding season and managed to capture all the images I needed to complete my set. You would think the process would be easy from that point on; however, when you are taking images that have been made on different days with different lighting and try to fit them into a single set, you need to process all the images in such a way that the colours don't look wrong when moving from one image to the next. I had to teach myself how to do this before I achieved it. I have learned a lot about processing Nature images, during this process, which I believe has improved all my photographic work, not just the images I chose for my portfolio set.

As part of my preparation for putting together my final set, I submitted a set of images to the Honours Board, knowing they would not be successful, with the express purpose of gaining feedback. That feedback gave me an insight into what the Honours Board were looking for in a Fellowship set and what I needed to do to make that happen. It was at that point I realised that I still did not have enough images to complete the set in such a way that it would be accepted, so it was back to the gannets for another breeding season.

I chose to submit a digital set instead of prints, as I felt it would flow better in this medium and would allow the story to flow from one image to the next. When I had chosen the images, I put them into a short video format so I could see how they flowed and if anything was jarringly out of place. I also asked another Fellow of the Society to offer me some feedback on my set as it was at that stage. The exchange between us was very brief and the result was my changing the last three images in the set to better complete my story. His feedback allowed me to look at the set more objectively and to step beyond the emotions I had invested in it, to see what needed to be changed. When I showed him again, he had nothing bad to say about the set and wished me all the best. I cannot stress enough how important this part of the process is, because after looking at the images for several years, I had started to second guess my choices.

My submission had to be in by February 2022 and usually the results would be sent out the following March. This year the Honours Board was unable to meet at the usual time due to Covid 19, so the wait was extended to the beginning of July. I was so excited when I found out that my set had been successful, and a little sad that my mother, who now suffers from dementia, no longer remembers issuing the challenge. I know that she would be proud of my achievement and that is enough for me.

My Fellowship Journey Toya Heatley FPSNZ AFIAP

Nelson National Triptych Salon 2022

Peter Wise FPSNZ

This ever-popular little salon has had another successful event with entrants from all over New Zealand. As usual, the designs and subject matter varied greatly with some showing excellence in design and others telling informative stories.

The Champion Triptych was awarded to Jill Jackson APSNZ for her superb entry, United with Nature Jill also won the Best “Cool Cats” Award with Quickstep as well as an Honours and two Acceptances. Eva Petro was awarded Best Monochrome for her triptych A Study in Curves and Take me Home Country Road earned Pauline Smith APSNZ “The Road” award.

The selectors for this year’s salon were Dianna Hambleton APSNZ, Noelle Bennett APSNZ and Ron Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS.

The Nelson Camera Club would like to thank all who entered the salon. We hope you had fun being creative and for showing us your work. We look forward to seeing more of your triptychs next year. In the meantime, please visit https://www.nelsoncameraclub.co.nz/ for more triptych salon information.

United with Nature by Jill Jackson APSNZ, Champion

Quickstep by Jill Jackson APSNZ, Best “Cool Cats”

... Nelson National Triptych Salon 2022

A Study in Curves by Eva Petro, Best Monochrome

No Passing Please by Rosalie Lindsay LPSNZ, Highly Commended

Take me Home Country Road by Pauline Smith APSNZ, Best “The Road”

... Nelson National Triptych Salon 2022

Fly Kaka Fly by Deborah Martin APSNZ, Honours

Stripes by Jo Curtis APSNZ, Honours

Miao People by Jiongxin Peng APSNZ, Honours

Champion Portrait: Miao old man by Jiongxin Peng APSNZ EFIAP

The National Portrait Competition

An update from Paul Byrne FPSNZ ARPS AFIAP

For many years, I have held the opinion that one of the most significant genres of photography was not as well represented or recognised, as it deserved to be, in New Zealand. In part, this may have been because it did not have its very own national competition. That genre is Portraiture.

Portrait images often seem to do less well, even though they occasionally win the open sections of a variety of regional or national salons. However, you must be mindful of the fact that salons which have a major theme, plus an open category, will usually be judged by people who specialise in the main category, e.g. Creative, Landscape, Photojournalism etc.

In my early days, as a self-confessed portrait photographer, I would love to have heard from judges who were passionate about the genre. I wanted to know if my work was moving in an acceptable direction. It would have been personally satisfying to know that my portraits were being reviewed and appreciated by qualified judges as the main feature of a competition, rather than appearing in an “also ran” open category.

This topic was raised in committee at the Tauranga Photographic Society on a number of occasions. Whilst support always existed, our intentions and efforts were frequently interrupted for reasons beyond the committee’s control. For some inexplicable reason, all the dots fell into position in late 2021, with the result that in September 2022 the inaugural Nation Portrait Competition was launched. By midOctober we had announced our first Champion Portrait image, entered by Auckland photographer Jiongxin Peng APSNZ EFIAP and entitled Miao Old Man The Champion Open section was won by Dianna Hambleton APSNZ.

As a photographic society, we were extremely fortunate and very thankful that two local businesses offered sponsorship support which enabled the Salon to come to fruition. They were Bay Building and Compliance Management (BBCM) together

with Carter’s Photographics. Their assistance was welcomed and very much appreciated.

For those interested in statistics, the Salon attracted entries from 186 photographers. The Portrait Section received 333 entries, with 12 Awards and a total of 38% Accepted or Awarded. The Open Section received 309 entries, with 12 Awards and a total of 30% Accepted or Awarded.

One of the many ways in which photographers can assess how their work is perceived by others is to enter images into competitions and salons. Whilst it can be daunting for some, others will find it just another rewarding step in their photographic journey, irrespective of the outcome.

Club competitions or evaluations form the backbone of most photographic societies and clubs in New Zealand. These are safe places where novices can learn the craft, hone their skills and develop new techniques. Assessments and evaluations by accredited judges offer guidance to individuals to help them through this educational process. As photographers grow at club level, their next logical step is to enter regional or national salons of photography.

Salons are entirely different arenas, because advice and guidance are not on offer. Instead, a panel of judges will analyse individual images as they search for a perceived perfection. They will look for reasons why one image is better or worse than other images in the same competition. Images are compared to one and others, and adjudicated on the merits of the craft, skill, technical and artistic aspects used in the creation of the images, as well as the emotional content emanating from the work. Occasionally, something as small as a dust spot can move an image out of contention for a major award. Thus, great care is needed by the photographer in the preparation and presentation of the final work.

Now that the first National Portrait Salon is complete, our committee is able to draw on its experience and,

... The National Portrait Competition

with the continued support of sponsors, we plan to grow and develop this particular Salon into the future. I can already tell you that next year’s competition will differ slightly from the first portrait contest. We currently plan to have three categories in 2023. Each category will ask for a specific aspect of portraiture to be demonstrated. At this stage, we do not plan to have a separate “open”’ category. We aim for Portrait Perfection and, with this in mind, we hope to build the contest into an iconic challenge which photographers will want to enter and win! Categories for the 2023 National Portrait Competition will be

Open Portrait

Any portrait of a human or humans, using any technique. Entries can encompass all aspects of humanity, from birth to death, and all that comes in between. They may be portraits of one person or many. We are looking for images that communicate a story, an emotion, an idea or even just a simple moment that must be remembered.

Person’s Best Friend

Here we are asking for a specific type of portrait, one that explores the relationships and interactions between pets/animals, and humans. For the sake of clarity, the image must show at least one person and one animal. We are looking for both a story and a sense of emotional engagement; emotional engagement between the person and animal and with us, as viewers. We might see examples of happiness, excitement, joy, frustration or even sorrow. Images can be posed, staged, or directed by the photographer, or they could capture those wonderful authentic, unscripted spontaneous moments that make our relationships with our best non-human friends the wonder that they are.

Environmental Portrait

We are looking for images that are executed in an environment that relates to the subject(s) being photographed. The included environment should provide a deeper insight into the personality, emotion or lifestyle of the subject(s). Images can

be candid or unposed, lightly directed or posed by the photographer, and may include self-portraits.

Hopefully, you will agree that the above descriptions create a wide variety of situations in which we humans can find ourselves. The possibilities are extensive and the selectors look forward to seeing the myriad of possibilities which photographers can capture. Essentially, the images entered into the National Portrait Salon (NPS) will be created by people, about people, for people.

Now is the time to prepare your entry for 2023. Consider the categories carefully; develop your ideas and start the planning process. Remember, the judges will be looking for fresh, contemporary images which may not have been publicly seen before.

As many of you will be aware, the PSNZ National Convention has changed its date to October in 2023 and subsequent years. As an organising committee, we did not wish entrants to clash with the Sony National Exhibition which traditionally runs conjointly with the convention. For this reason, the important dates for next year’s National Portrait Salon will be:

Entries Open - 9.00 am on Thursday, 1 June 2023

Entries Close - 11.59 pm on Friday, 30 June 2023

Results - No later than Sunday, 23 July 2023

Digital Salon Catalogue will be delivered electronically to all entrants by 1 August. 2023.

Further details can be found at https://www.taurangaphoto.nz

It’s one thing to make a picture of what a person looks like, it’s another thing to make a portrait of who they are ~ Paul Caponigro

Champion Open Image: My Home, My Castle by Diana Hambleton APSNZ

Silver Award: Over There by Judy Stokes

Silver Award: Jada by Pauline Smith APSNZ

Silver Award: Impermanence by Charlotte Johnson

Silver Award: Keeping an Eye on the Prize by Annemarie Clinton

PSNZ Workshop Series

A report from Karen Moffatt-McLeod APSNZ, Councillor

As we are now at the end of the 2022 PSNZ Workshop Series, I would like to say, ‘He mihinui ki taku kapa’ a big thank you to my team of Jayne Parker and Nicole Tai. Without their hard work, arranging the workshops would be an impossible task. Nga mihi to Toya Heatley for her support on the banners and to the photographers who joined up for the journey. Nga mihinui to the facilitators for sharing their knowledge, passion and aroha and inspiring us all: Toya Heatley FPSNZ AFIAP, Meghan Maloney, Greg Stevens FPSNZ, Joseph Pooley, Helen Westerbeke FPSNZ, Karolina Ferbei, Judy Stokes APSNZ, Steve Attwood and Graham Dainty FPSNZ for the work he put into organising the Novice Landscape workshop which had to be cancelled.

On a personal note, having joined the PSNZ Council and taken over this portfolio in late 2021, I feel that as a team we did a good job in pulling together the series as we did. Yes, we had some challenges with weather, timing etc, but it seems that most of you enjoyed your experiences.

Looking ahead to 2023, we are still working on some more workshops, and hope to have a plan ready in December, or at the latest early January. We are continuing to include some new topics along with tried and true interests. Our first 2023 workshop, Event Photography (which we had our fingers crossed you would be interested in) was booked up in a couple of days fantastic! Due to some personal matters that took my focus away for a time, Jayne took the lead in the organisation of this one and has done a fabulous job, and those attending will get to meet her in person as the PSNZ host.

2023 Workshops locked in include

• Night Photography (not astro) with Kevin Clarke ANZIPP in Christchurch City, the weekend of 4-6 February

• Event Photography with Leanne Silver LPSNZ at WOMAD, Taranaki, 17-19 March

• Mono Landscape with James Gibson APSNZ EFIAP/b near Castle Hill, South Island, the weekend of 5-7 May

• How to Shoot a Wedding with Paul Whitham APSNZ in Wellington, 27 May

• Astro Photography with Joseph Pooley at Tekapo, May or June TBC

• Landscape Photography with Meghan Maloney in Rotorua, June or July TBC

We are working on Flower or Macro, Portrait Photography and Urban/Street/Cellphone Photography

We will also be bookending the PSNZ Convention with workshops – more on that soon.

If you are keen to run a workshop, particularly on one of the above topics, please contact me. Similarly, if you have design experience, some time available and would like to help with producing our workshop banners, please contact me at workshops@photography.org.nz.

To register for workshops, you need to be an individual PSNZ member. If you are not, sign up now so you don’t miss out! Clubs, you need to encourage your members so they also have the opportunity to attend the workshops. This is just one of the benefits of being an individual PSNZ member.

Have an enjoyable festive season, stay safe and be kind to one another from the PSNZ Workshop Series Team, Karen, Jayne and Nicole

Photo by

Bird Photography with Steve Attwood at Little River

Workshop Series Report by Anna Heasley

I’d like to share some photos from Steve Attwood’s bird photography workshop at Little River. I thoroughly enjoyed the whole weekend. I was inspired by Steve’s enthusiasm for conservation and his bird knowledge. He shared some really useful tips and I learned a lot.

We spent time spotting birds on Lake Ellesmere and this involved some serious mud-plugging. We saw wrybill plovers, herons, spoonbills and pied oystercatchers amongst others. Steve encouraged us to keep together as a group to get closer to the birds without disturbing them.

Little River is a beautiful spot to visit for the weekend. The bird song in the mornings was incredible. I’m keen to get back here to find the morepork and get some better photos of the tui.

There were a few personal highlights – seeing a tui in Canterbury (a first time for me), the swan eggs, getting landed on by a kahu (swamp harrier) and of course hanging out with a bunch of very talented PSNZ photographers.

I chose these photos because they express the beauty of the bird world. I love the texture of the eggs, strong but also delicate, the kahu feather colours and the crazy pattern of the quail plumage.

PSNZ

PSNZ Workshop Series Report by Kelvin

Aird

I was honoured, as one of those attending the PSNZ workshop on bird photography in October, to be asked to write about my experience.

The story began last year when a close friend and fellow member of the Christchurch Photographic Society encouraged me to attend a field trip to the white heron colony at Whataroa on the South Island’s west coast. Despite specialising in portrait photography, I decided to attend. Even though the weather wasn’t the best, with constant rain, it was a great experience and well worth the trip.

A few months passed and Steve Attwood was the guest speaker at our club. This spurred my interest in doing one of Steve’s tours to learn more about photographing birds. The opportunity arose when I saw the PSNZ Workshop advertised so I registered.

It was a great workshop. Steve’s talk, his knowledge of our native birds and their habits, along with his local knowledge of Little River and Lake Ellesmere (Te Waihora) area excellent! As well as fieldwork with Steve, we had a presentation from Ron Lindsay who is involved with the New Zealand Raptor Trust. Ron and his wife travelled up from Timaru for the day, sharing their story and providing the chance to meet two kahu or swamp harriers. This too was excellent.

The team from PSNZ did a great job in organising and running this workshop. Despite the mud, it was a worthwhile experience. Thanks to Jayne Parker, Nicole Tai and Karen MoffattMcLeod APSNZ for all your hard work.

Creative Portraiture with Karolina Ferbei

by Julia Rae APSNZ

Photographers from as far north as Waiheke Island and from the depths of Southland made their way, in atrocious weather, to arrive in Karolina’s hometown of Tauranga for the Creative Portraiture Workshop. There was a strong contingent from Whitianga as well as Thames, Auckland, Gisborne, Waikato and Christchurch.

As eleven participants arrived at our schoolroom venue in Tauranga’s Historic Village, one of the highlights was meeting members who until now had only been familiar names.

With incessant rain, we had to move to an indoor venue and Karolina had to contend with her booked model’s lastminute cancellation. Fortunately, Karolina’s makeup artist’s daughter’s friend, Elisharose, who had never modelled before, agreed to step in. Yay!

After catching her breath, while we did a round of introductions, Karolina started the workshop with a description of what inspires her to create an image. Colour and careful consideration regarding the use of complementary colours is often a starting point. Karolina has a fairytale style and considers how the model poses, the fabric and elements that support the fairytale vision. Her third component for inspiration is the location, and Karolina talked in detail about her preparation when considering an outdoor location. Many tips were imparted throughout the afternoon, covering topics such as preparation, posing and lighting. Already enthused, we spent time photographing Elisharose in different dresses and colour combinations, with props that included oversized paper roses to streams of tulle fabric thrown into the air.

At 8.00 pm we dodged the rain to meet at a restaurant in town, with great food and company. The hard task overnight was to choose three images, from the hundreds taken, to edit on Sunday.

Karolina took us step by step through her editing process, starting in Lightroom with general adjustments such as light, hue/saturation and the use of radial filters. We were spoiled with a lunchtime banquet at a local Chinese restaurant before returning to finish the workshop with some Photoshop techniques. Karolina led us through her “clean-up” and the more technical frequency separation among other editing tips. I am grateful for Karolina’s wonderfully easy-to-follow notes so that I can continue to practise and play. And, did I mention her calm patience? A necessity when teaching eleven photographers, all talking and at various skill levels in Photoshop!

I am an ardent follower of Karolina's beautiful dreamlike portraits, so it was a real treat to be able to meet her, learn from her and have insight into her creative process. A huge thank you to Karolina and Elisharose, and of course Karen and PSNZ for making the workshop a reality. I learnt lots, loved the company and have been inspired!

Karolina’s website: www.karolinaferbeiphoto.nz

Photography with Karolina Ferbei

Bob Scott LPSNZ reports on the PSNZ Creative Portraiture Workshop

I decided to attend as a positive stepping out of my photographic comfort zone, a bold move on my part because it would mean working with actual living people – scary stuff! I hoped to pick up some tips and methods to make it easier to poke a camera into someone’s personal space.

I also hoped to overcome my FOF (Fear OF Flash) and along the way pick up a few new tips on Photoshop. Did it work? Well, yes and no.

No, I did not lose my FOF, but I did learn to ignore it because Karolina showed just how well LED panel lights work. So, no need to contemplate flash units anymore.

Yes, I learned heaps about working with a model and I picked up lots of new Photoshop editing techniques.

Our planned outdoor shoot was abandoned due to constant rain, so we set up in a lovely old building with high ceilings and lots of floor space. Karolina’s regular model cried off at the last minute but Karolina did exceedingly well to find a ”friend of a friend” an attractive young woman with stunning red hair. Elisharose was just sixteen and doing her first-ever modelling assignment. She was great and her inexperience, in itself, was a good learning point for us.

Karolina set up a backdrop and lights, posed Elisharose in a fabulous red dress and showed us how the positioning of the lights and the angle of the model’s face affects the shadows and modelling of the face. She talked about colour harmony, lens choices and camera settings. We were also treated to a little discourse on having a plan, with benefits for both the model and the photographer.

Everything was set up and we were let loose. Poor Elisharose! It must have been a little disconcerting to have ten enthusiastic photographers jockeying for position to get the best shot! However, we soon had it sorted and managed not to disrupt each other too much.

After a short time, a re-posing led to a discussion about Karolina’s style and how she uses fabrics and props to create volume and fantasy in the image. And so the afternoon carried on, and we all had time to work one-on-one with Elisharose if we wished.

As a first-time participant in a group portrait shoot, I initially found it a little intimidating. But when I realised the purpose of the shoot, to create images to work on in the next day’s editing session, I relaxed more. there was also an opportunity to try different methods and learn from observing other photographers’ actions and ideas.

The next day was also spent indoors, as it needed to be, with a full day of editing with a detailed demonstration of, and practice of, Karolina’s workflow and editing techniques. It was amazing how much I learned about the power of buttons and menus that I had previously ignored, and the features I never knew existed, in Photoshop!

So, what did I learn? Have a plan, study the location, know where the natural light is coming from, choose a colour palette that suits the location, use a colour wheel, dress the model to suit the plan, have a bag full of props, especially for the model to hold and occupy the hands.

Pose, pose and re-pose. Pose the model to fit the background and study the background for distractions and visual intrusions and re-pose the model to eliminate them. Pose the model in the most advantageous way, be aware if the body stance detracts from the face, be aware of bulk and find a stance that minimises it (or enhances it). Note how shadows and highlights change as the model is moved.

The most important point I learned was to communicate with and work with the model to bring out the best in them. It is all well and good having a plan for the shot you want, but it is a lot easier to achieve that if the model understands what you want and it is within their abilities and boundaries to achieve it.

One technique I discovered came about by chatting with Elisharose while re-posing. I showed her one of the photos I was pleased with and asked her what she was studying at school. During a brief chat, she said her most important topic of study was to get her driver’s licence. A little later, when I was trying to have her smile for a shot, I asked her to imagine the moment when she learns she has passed her driving test. Her face lit up and I saw the genuine smile I wanted!

Hands are important and can be a real challenge. They can intrude and detract from the face by catching the viewer’s attention. It is hard to have the model relax their hands when you have brought their attention to them. Giving them something to do by holding props often helps. Arranging the hands so the smaller edge is facing the camera is a good way of minimising the visual impact.

Be aware, when working with a model, of physical closeness when rearranging costumes and hair. The most important rule is to ask first. Making people uncomfortable is not socially a good thing, and working with a tense model makes the job of the photographer far more difficult.

Confidence works. Projecting confidence through clear communication and sharing your plan with the model will help the progress of the shoot no end. Showing results as the shoot progresses brings the model into the process. Compliments go a long way.

Last, but not least practice, practice, practice!

PSNZ Members' Webpages

Brian Livingstone LRPS APSNZ

On my website, you’ll find a brief bio with examples of my work, including exhibitions I have held over the years.

www.brianlivingstonephoto.com

Chris Helliwell LPSNZ

Here at Edges Art & Framing, we care about your art. Our experienced and friendly staff are committed to giving you the best advice and guidance to find the perfect solution for all your framing needs. We also endeavour to bring you the most up-to-date framing trends and quality framing materials. Edges is your “one-stop shop” for printing and framing. We run a large format Canon printer, and we can print your family photos right up to large works 1100 mm wide.

www.edgesframing.co.nz

Eric Schusser FPSNZ

This website centres around Southern Topographics a selection of iconic black and white landscape images from selected areas of the lower South Island, sub-grouped as Central Otago, Tekapo, Whakatipu, Wanaka, Maniatoto, Kakaunui and Aoraki-Mackenzie Country. In addition, there are multiple photo projects around a variety of environmental themes, personal themes and experimental themes. It also includes a section on photo books published, my biography and my CV.

https://ericschusser.com

Jay Drew APSNZ ANZIPP

Jay is an NZIPP-accredited commercial and wedding photographer. He loves the joy of a wedding, the diversity of people, and bringing creativity to a commercial photography occasion.

https://www.jaydrewphotography.co.nz/

Pankaj Bhakta

The portfolio consists of a variety of images and is categorised into Family Portraits, Events, Creatives, Nightscape and Landscape. https://www.pankajbhakta.com/

Samantha Cornish

Service types, cost of services offered, portfolio of services offered, and information about me, the photographer. https://www.samanthacornishphotography.co.nz/

Simone Jackson APSNZ NZIPP Master

I am a Dunedin-based photographer. I specialise in photographing weddings, and my absolute passion is capturing Nature and Landscape images with a fine art bend thrown in for fun. I hope you enjoy browsing my website. www.simonejacksonphotography.co.nz

Ted Grenfell

I am a portrait, lifestyle, and food photographer and a serious landscape photography enthusiast. Originally from Oamaru, I started a photography business in Titirangi with my late wife Cath in 2014. I now work out of my North Dunedin studio gallery where I also continue the photo-printed homeware brand “Piha” that Cath created. My site contains links for booking my “Camera101” training events in Dunedin and Oamaru. The online webstore offers options to purchase my artwork for printing, with local Dunedin pickup or shipping worldwide. www.grenfell.co.nz

FIAP Distinctions: Requirement Changes, Beginning in 2023

By Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP

These changes have been on the sideline since 2020 when Covid hit. At the moment FIAP has indicated that the new requirements will come into force from the beginning of 2023. There may be some slight alterations as a result of the congress meeting in December but by the time NZ sends in its applicants’ dossiers in September, things should be finalised.

Here are the basics of the new requirements:

To qualify for the AFIAP distinction you will need to have

• Taken part in and received at least five acceptances in PSNZ National Exhibitions. (This is a requirement of PSNZ, not FIAP.)

• Taken part with success in different international salons under FIAP patronage for at least one year.

• Gained 90 acceptances from FIAP-patronised salons or circuits.

• From 15 different countries (a circuit is deemed a single salon and a single country).

• With 30 different works/images.

• Five photographic works by the candidate in the form of a digital file. These submitted works must have obtained three FIAP recognised acceptances in different salons. In this respect, a circuit is considered to be a single salon.

EFIAP, EFIAP/b, EFIAP/s, EFIAP/g, EFIAP/p (Each level starts at zero and requires the same number of acceptances etc as the previous level.)

For the distinctions EFIAP, EFIAP/b, EFIAP/s, EFIAP/g and EFIAP/p the candidate must

• Be the holder of the previous distinction for at least one year, based on the date of the diploma

• Have taken part with success in different international salons under FIAP Patronage in at least 30 different countries. In this respect, a circuit is considered to be a single salon and a single country.

• Have obtained 250 new acceptances

• With at least 100 different new works/Images in international salons under FIAP patronage

• Five photographic works by the candidate in the form of a digital file. These works must be different and not resemble or be similar to those submitted for the previous distinctions. The five submitted works must all have obtained an award in different countries and a circuit is considered to be a single salon and a single country.

Apart from the above requirements, there is also the following change to the number of acceptances that can be used.

The number of acceptances/awards for one title (work) is limited to five acceptances/awards. This means you can only count five of the acceptances you may receive from a single image/title, regardless of how many acceptances you actually receive from that image.

Scenario 1

You have gained seven acceptances for title (a). Only five of these will count to be entered on the distinctions application; the other two don't count for anything. This title is now deemed to be "used" and can no longer be used in any future application.

Scenario 2

You have gained two acceptances for title (b), even though you only have two acceptances in this application. This title is now deemed to be "used" and can no longer be used in any future application.

An image (title) can only be used for one distinction. For the next distinctions, the applicant must use new images each time.

Titles/images that have not been entered in any previous FIAP certificate can now be used. They can be earlier acceptances for images collected before your AFIAP/EFIAP as long as they have not been recorded on any previous FIAP distinction certificate.

Any work without a title will not be accepted as counting towards applications for distinctions.

For more information and forms etc, contact Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP ajbastion@gmail.com

FIAP Distinction 2022

It is with much pleasure that I inform you of this year's FIAP distinction recipients. These members have worked towards their distinctions by entering world competitions and gaining acceptances and often medals. They have been putting their work up against photographers from all around the world in salons held in many countries.

Each distinction has a required number of acceptances in different salons and different countries. The recipients are:

Dawn Kirk LPSNZ EFIAP

Jiognxin Peng APSNZ EFIAP

Philippa Wood LPSNZ EFIAP

Robert Weir LPSNZ EFIAP

Brett Walter APSNZ EFIAP/b (Bronze)

Liz Hardley FPSNZ EPSA LRPS EFIAP/g (Gold)

Congratulations to you all. If you would like to know more about the process, contact me at ajbastion@gmail.com

FIAP Cloud Collection

New Zealand images selected

I have been informed by FIAP that some images from PSNZ members (those achieving FIAP distinctions this year) have been selected for addition to the FIAP Cloud Collection.

You can view previous images selected from New Zealand and from other countries at http://collections.fiap.net.

As the number of pictures that FIAP receives every year is very high, there is a limit to the number of pictures placed in the cloud. Members of the FIAP directory board select which ones are to be placed there.

Ann Bastion Hon PSNZ FPSNZ EFIAP MFIAP

A True Standard-Bearer

Simon Woolf M.Photog pays tribute

Eunice Mowles was an FPSNZ, a former member of the Honours Board, PSNZ Council, and a recipient of the PSNZ Service Award.

Eunice was a very fine photographer in a number of genres. Her PSNZ Fellowship set, which documented the workers at Hutt Hospital, was considered standard-setting for a PJ set. It hangs in the hospital to this day!

Eunice, with her late husband Arthur, made quite a partnership. Together they were standard bearers, for both photography, and the organisation of PSNZ events and activities. They both won major awards, were regular exhibitors, and were amazing mentors to others.

Eunice, in particular, had a photography reach far further than PSNZ. She exhibited in a number of group and solo exhibitions in the wider arts community. She was adept in colour and black and white, and in using both film and digital mediums. Her monochrome work was exquisite, and her documentary photography often had a sense of humour attached! Her landscape work was beautifully crafted, and very original. Her work is viewed as eminently collectable, outside of PSNZ circles.

She served PSNZ, both on and off Council, for a lengthy period, and in a number of roles. Her work with PSNZ archives and the Permanent Collection was meticulous.

Eunice was a true character, with warmth and wisdom and a strong personality, who shared and cared for others. She will be greatly missed.

Eunice was a keen supporter of the PSNZ Permanent Collection. When in 1993 the New Zealand Centre for Photography in Wellington could no longer store the collection, she housed it at her home. She also repacked the collection in archival paper and boxes

Council would like to gratefully acknowledge the very kind bequest made to PSNZ by Eunice Mowles. She continued supporting the Society even in her will.

PSNZ Canon Online Photographer 2022 Round 5 Results

By Paul Willyams APSNZ AFIAP MNZIPP, Canon PSNZ Online Coordinator

The Winner! Congratulations to Wendy Pemberton, winner of the Canon Online round 5 for 2022. There were 105 entries in this round.

About Wendy...

I feel very honoured and extremely excited that my image, First Date, has won first place this round. My interest in photography began when I was a teenager, using my parents' little Instamatic film camera and progressing from there, mainly taking family pets and holiday snaps. My interest picked up when my husband bought me a DSLR camera about eight years ago, but I only used it on Auto until I joined the Whitianga Photographic Club. With the help of more experienced club members, I began using my camera on manual settings about three years ago. I have been a member of PSNZ for about two years and recently also joined Cambridge Photography Club.

I enjoy most genres of photography but particularly love detail, so bird photography and macro would probably be my favourites but I’ll try anything.

Wendy’s winning image...

For this image, I set up the cup and saucer with sugar syrup and then used the tripod to look through my kitchen window. I didn't have to wait long for the wax-eyes to fly in, their little heads bobbing up and down quickly as they drank. I used a shutter speed of 1/1250 sec, f/6.3, ISO1250, 400mm, and took hundreds of shots to capture this image which required very little editing.

These little birds always make me smile with their very expressive faces. We can only imagine what they must be saying to one another...

The judge for this round...

Ian Walls FPSNZ introduces himself. My photographic interests go back to high school days, and I have fond memories of stirring chemicals and watching images magically appear in a darkroom tray.

My first digital camera was a massive 3-megapixel Fuji and I had an early version of Photoshop which had a dubious legal status I purchased it at a market in Hong Kong. With these tools at the ready, I absorbed all that I could from the internet to learn how to use them. I quickly realised that technical skills by themselves mean little when using photography to create art.

For me, that dual aspect of needing both artistic and technical skills is the real magic of photography. And that doesn't stop growing just look at where AI is taking us now! For me, the purpose of "judging" is both to provide feedback and learning to someone whose work I have been asked to assess, and to push myself to look at images with an open mind so that I can see past the obvious.

1st - First Date by Wendy Pemberton

I first saw this image towards the end of the more than 100-image pile and, when I clicked on it, I immediately smiled. Drawn back to it, I noticed the gorgeous background, skillfully grounded by the hedge line that lines up perfectly with the rugged post. Then there was the quirky cup, placed there by the photographer, and the two wax-eyes that posed superbly. Simplicity, done wonderfully and, for me, a worthy winner.

... PSNZ Canon Online. Awarded Photos

2nd - Among the Trees by

Sheree Davidson LPSNZ

This is a superb construct that is all about storytelling. The reality is clearly twisted, from the spire formed in the upward branches of the flip to the overlarge door and the unnatural blue in the forest. We know that this is a story and we are drawn towards the magical land beyond the door.

by Sue Riach APSNZ ARPS

AFIAP

There is a spiral of energy in the waves that draws me inward towards the surfer. The post-production smudge filter, that has been applied, adds to that energy spiral. The monochromatic presentation also emphasises the unreality.

3rd - Secret Surfer

This image spoke of mood and mystique to me. Compositionally I think the light on the central tree creates an interesting point of focus and the branches lead the eye into the intriguing misty spaces beyond. I find both the colour palette and the sense of space and solitude restful.

5th - Having a Jolly Good Pollen Hunt by

I really get the sense that this bee is at “maximum all-up weight”. The simple background and central location, within the frame, of the flower and the bee, work well to create a sense of energy from the bottom to the top of the image.

4th - Pretty in Pink by Karen Moffatt-Mcleod APSNZ

Rachel Spillane

...PSNZ Canon Online. Awarded Photos

7th - Bright Eyes

by Rosemary Simpson

LPSNZ

6th - The Selfie

by Liz Hardley FPSNZ EFIAP/g FAPS EPSA LRPS

This is a story of happy summer fun, and Grandma really is in charge here. Your choice of monochrome simplifies what could be a mass of colour in their clothing and the background hints at location, but the story remains about the people.

This gorgeous portrait is all about those bright blue eyes. The face-painting artist has matched the colour of her top and her skin tones. Perhaps you have set her against a dark background in post-production, and this works really well, but the slightly reserved yet confident expression tops it all off.

The colour pallet and the gorgeous background blur allow us to make our own story about the beauty in nature. The wafer-thin depth of field highlights the unfurling frond, but the story is more about what we imagine than what you literally show us.

8th - Beginnings by Shelley Wood LPSNZ

...PSNZ Canon Online. Awarded Photos

In this image, a small part of the view tells us a large story about the place. The orange and blue colour pairing, arranged in a Yin Yang style, explains how the rock gathers the water and holds it within. The footprints on the sandbar in the foreground give us a sense of scale.

Nothing is straight or whole here, and the place needs to be held together with bits of #8 wire, but the building feels just as welcoming as the quirky smile on its owner's face. I am sure that a cup of tea and a few stories are on offer here.

10th - My Home My Castle by Dianna Hambleton APSNZ

9th - Uluru Waterhole by Markham Mail

APSNZ