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 January 2025
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:
Whale off Tonga by Michael Parker (see full article on page 54)
We're still asking !
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. In this issue there are two such pieces.
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
With only a few weeks until Christmas, now is a great time to reflect on all that we have accomplished together as a community at the PSNZ.
The year has been filled with memorable moments and has been a very busy and rewarding time for Council. We had a wonderful convention, held in lovely Gisborne, with the organising team led by Julia Rae APSNZ.
Her amazing team made us all feel very welcome and the weekend was a huge success. The exhibition was inspiring. We have held a number of excellent workshops and competitions/salons including Canon Online. As a community, we have shared our passion for photography and many of you have played a vital role in making this year one of growth, creativity and connection. I want to thank you all for your contributions, enthusiasm and also support.
We have seen some wonderful images in NZ Camera and we are grateful to the selectors who worked tirelessly to ensure the publication came together and in good time.
Whether you have taken part and attended the convention, volunteered your time or simply connected with fellow members, your involvement makes this society the vibrant and supportive community we all treasure.
Looking ahead, we have an exciting National Convention to be held in Nelson in May and that has the hallmarks of another stunning event, with two international speakers. Rachel Hume APSNZ (Councillor for Events) and Lynda Mowat LPSNZ have been working hard, along with the organising committee in Nelson, and I would like to thank them all for their huge effort.
I am excited about what we will achieve together in the year ahead and can’t wait to see the creativity and inspiration you will bring in 2025. If you are preparing submissions for your PSNZ honours, good luck.
In conclusion, I would also like to take a moment to thank our trade sponsors who have committed to continue their support to PSNZ and especially conventions. Your contributions continue to make a significant difference to what we are able to achieve for our members and we hope that the relationships continue to provide benefits to your businesses.
On behalf of the entire PSNZ Council, I want to wish you and your loved ones a joyous festive season and a bright, inspiring start to the new year.
Thank you for being part of PSNZ, and I look forward to sharing another wonderful year with you.
Key Dates for the Diary
December 25 Canon Online round closes
January 16
January 20
January 22
February 22
February 28
March 14-16
March 31
May 1-4
May 17-18
May 23-25
Submissions for Honours open
Entries for PSNZ Sony National Exhibition open
Entries for PSNZ Interclubs open
Registrations for National Convention open
Entries for PSNZ Sony National Exhibition close
Entries for PSNZ Interclubs close
Submissions for Honours close
Creative Portraiture workshop with Shelley Harvey BPSA
Registrations for National Convention close
70th National Convention, Nelson
Mushroom Macro Masterclass with Lee Ormsby Andriksen
Instilling Emotion via Photoship with Helen McLeod FPSNZ
Welcome to Our New PSNZ Members!
Adele Fawcett
Andrew Mosley
Andrew Piper
Arthur Coverdale
Heather Colling
Heather Fronek
Ingrid Ronner
Joanne Waye
Julie Hill
Karen Brown
Linda Ritchie
Lynda Aitken
Marinka Hood
Marjolein Duindam
Michael Collling
Nicola Glubb
Perry Bernard
Peter Quax
Peter Rees
Sherilee Swanepoel
Torben Nielsen LPSNZ
Tracy Tate
Verity Davidson
PSNZ — Just What Does it Do for its Members?
by Caroline Ludford LPSNZ ANPSNZ LRPS
Many a parent, regional or national body, has been asked the question, ‘What does this organisation do for its members?’ PSNZ is no exception. At our recent face-to-face meeting in Gisborne, your PSNZ Council contemplated this very question.
"What does PSNZ do for its membership, and furthermore, what is our role as custodians of this body?"
After listing our various activities, we collectively began to realise that PSNZ is about affording diverse opportunities across a diverse membership. We exist to provide the photographers, that make up our membership, the opportunity to grow.
The purpose of PSNZ was stated at its inception and can be found in the governing rules, our PSNZ constitution.
Within clause 3. Purposes of the Society, there is an eleven-point list that repeatedly uses the words “promote” and “support”: 3.1.a. ‘Promote education in and advancements of the art and science of photography in all of its applications.’ Or 3.1.b. ‘Support members and affiliated clubs for photography.’
Clause 3 goes on to draw, albeit with broad strokes, the basis for PSNZ activities, and its function within our photographic community. As members of the current PSNZ Council, we are charged with the delivery of these purposes, the promotion of photography and the support of our member photographers.
This, however, is only half of the equation. Council, to the best of its ability, is continuing the work of the many PSNZ Councils that have gone before.
We are privileged to be able to build on what is a solid platform. To be effective, however, we must have the support, the energy of our membership, and their commitment to actively participate in the PSNZ activities, whether it be member clubs or individuals.
The late John F Kennedy, in his inaugural presidential address to the American people, said, ‘Ask not what your country can do for you — ask what you can do for your country.’
Perhaps what we should really be asking is what we (as members) can do for the body that is the Photographic Society of New Zealand; how can we individually assist the growth of photography? After all, optimism, tenacity and perseverance, along with being prepared to take a risk, are all contributors to real success.
PSNZ is an opportunity.
We all as members can choose to risk, both a little commitment and some effort, to be able to use the PSNZ platform to achieve major milestones in our photographic journey –having an image accepted into a PSNZ Salon, achieving our LPSNZ, APSNZ or even FPSNZ, entering Canon Online, submitting an entry into NZ Camera, and if not successful, simply being able to learn from the experience and to be inspired by those that were.
We also can participate in a PSNZ convention, a workshop, or be part of a print or digital circle – all things that, if you apply effort, will net rewards, sometimes surprising rewards.
Judge Accreditation Panel Update for 2024
By Dr Neil Gordon APSNZ
This year has been an exciting and productive one for the Judge Accreditation Panel. Here's a look at some of the highlights and progress we've made together.
New Accredited Judges
First, congratulations to Brian Turner LPSNZ, who was accredited in September. Brian joined the training programme after attending the Judge Training Workshop in Cambridge in May 2023. Congratulations and thanks as well to Judy Stokes APSNZ, for helping Brian achieve this milestone.
The only other new accredited judge this year was Dave Simpson APSNZ LRPS, who was accredited back in February. Thanks also to his mentor, Gail Stent FPSNZ.
If you’ve ever considered becoming a judge or attending one of our workshops, we’d love to have you join us! It’s a great opportunity to grow as a photographer and to support the PSNZ community.
Judge Training Workshop Weekends
As is now the normal practice, we had two workshops this year – one in-person and one via Zoom. The in-person sessions will alternate between the North Island and South Island each year. Leica New Zealand now provides much appreciated funding to help support these workshops – thanks to PSNZ vice president, Aston Moss LPSNZ, for arranging this.
Participants working on trial critiques of prints, during the Christchurch Workshop.
The in-person session was in Christchurch on the weekend of 11-12 May 2024. If those dates sound familiar, that’s because this was the time of a major solar storm and display of aurora australis. Shona Jaray APSNZ and I travelled down to Christchurch to present it, along with tripods and cameras so as not to miss out capturing the aurora from further south than normal. Ian Walls FPSNZ kindly put us up for the weekend, and his rural property was an excellent location for nakedeye viewing as well as photography.
We had 27 people take part in the workshop, with good feedback, and several subsequently entering the training programme.
The Zoom training weekend on 2-3 November 2024 was presented by Judy Stokes APSNZ and me. We had 14 participants from around the country, plus one member from Turkey who managed to stay awake and fully engaged from midnight to 6:00 am his time. It was a great mix of people, including three existing accredited judges (who can now attend without paying a fee if there is space available). We had stimulating discussions about various judging matters. There was excellent feedback from this course as well, with another four people, so far, entering the training programme.
Because not everyone has access to the PSNZ private Facebook group, copied below in full is a very welcome post from Mike White APSNZ about the workshop, and just as importantly about all the judging that takes place through PSNZ efforts.
Next year, an in-person workshop is being planned for the weekend of 7-8 June 2025 in Whanganui, and we expect to hold another Zoom workshop later in the year. Look out for further details of these.
Judge Numbers
This year we offered the opportunity for existing accredited judges to take a bit of a breather for a while, rather than completely leaving the register. We now have six judges on “Sabbatical” – and hope that over the next year or two some of those will rejoin the formal list. But as a result we now have just 45 accredited judges on the list. The good news is that we have a large pipeline of trainees coming through the system – there are currently 12 trainee judges available to judge for clubs, who are in various stages of their training, with a further five just embarking on that journey.
Judging Assignments in the PSNZ Database
The PSNZ database has been set up to help PSNZ judges, JAP, and affiliated clubs to manage judging assignments. This is intended for still image judging only.
The system is based around records in the database – one for each judging assignment. Clubs, PSNZ judges, and the JAP Secretary can all add, view, and update these records, so they all see the same information, including a change log of when, what action, by whom, and for what reason there were updates.
The benefits of this new system are that:
Affiliated Clubs – can easily add, then view and manage details of upcoming assignments, enable judges to view and agree to take on assignments, and maintain an ongoing record of their club’s judging assignments. They can specify a list of preferred judges (PSNZ accredited) and email them to consider taking on available assignments.
Accredited and Trainee Judges – can see the details of available judging assignments and decide whether to do one, can add judging assignments from the past or future, and maintain records of their own judging. Accredited judges who mentor trainees can also easily see the record of their trainees’ past and future judging assignments.
JAP Secretary – can manage the changing status of accredited and trainee judges, maintain a record of upcoming judging assignments that clubs have said is OK for a trainee to judge, and assign trainee judges to them if needed, by agreement.
While the system is entirely optional for clubs and accredited judges, I’ve been pleased to see steady progress in its use. There is a network effect here – the more it is used, the more valuable it will become. As of 23 November 2024:
• 25 clubs (about half the clubs) have used the system to designate a Competition Secretary and thereby gain access to managing assignments through it
• 43 judges have at least one assignment in the system (about three-quarters of the 57 accredited and trainee judges)
• 348 past and future assignments are in the system, of which 242 are assignments for 2025. 162 of those already have a judge assigned
To give you an idea of the kind of information available when judges are considering taking on club assignments, here’s the first few for 2025:
Thanks
A huge thank-you to my fellow members of JAP – Paul Byrne FPSNZ ARPS AFIAP, Annette Johnston FPSNZ, Judy Stokes APSNZ, Geoff Beals APSNZ and David Smith FPSNZ, for all their contributions this year. We’ve had loads of productive discussions and made progress on many other items such as guides for mentors and trainees, a revamp of how the accreditation tests work, and a new and more concise judge feedback questionnaire.
JAP members also act as mentors to trainees, along with several other off-JAP judges (thanks to Ian Walls FPSNZ, Shona Jaray APSNZ, and newly appointed Sheryl Williams APSNZ).
Throughout, we had great assistance from JAP Secretary Jenny Whitcombe, and from Jim Embury APSNZ over workshop arrangements. And the PSNZ Council, led by President Caroline Ludford LPSNZ ANPSNZ LRPS, continues to be very supportive of our efforts.
Last, but by no means least, I want to give particular thanks to all judges, who selflessly contribute to the PSNZ purpose, to Help Photographers Grow, by volunteering countless hours to review and critique images from members of PSNZ and affiliated clubs.
I hope everyone has a well-deserved, relaxing and enjoyable break over the next couple of months.
Want to Join a Print Circle?
One way to improve your photography is to critique other people’s photographs and have others assess yours. You can do this by joining a print circle. Up to ten photographers circulate their work by mail to other members who have a few days to make constructive comments on the work received, add a new print for others to view, and post the bag to the next person on the list.
Each circle is monitored by a secretary who sends out a roster for each round and ensures the circle is running smoothly. Members can expect the bag to arrive three or four times a year. People are encouraged to keep in touch by adding a short letter to each round, helping them to get to know other photographers and gain useful feedback on their work. Sometimes members catch up when travelling in New Zealand, and they enjoy meeting at PSNZ conventions.
One or two circles currently have vacancies. If you’d like to join, please contact Lindsay Stockbridge LPSNZ at dilinz@actrix.co.nz and we’ll happily settle you into a print circle!
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The Nelson National Convention –Planning for You!
By Rachel Hume APSNZ, PSNZ Councillor for Events
As you can see from the website (https:// national.photography.org.nz), planning for the National Convention 2025 in Nelson is well underway for a fun-filled and action-packed time. The initial programme is now loaded onto the website. and also shown on pages 24-25. There may be a few small changes over the next few months as plans evolve, but the overall timing will stay the same. More details on all the workshops and field trips will be loaded onto the website as we nail down the finer details.
Registrations will open at 1.00 pm on Thursday 1 May, in the Rutherford Hotel. You will be able to check into your room and collect your lanyards and information for the self-guided photo tour.
The Nelson committee has been hard at work and has organised a fabulous all-day preconvention field trip for Wednesday 30 April. Here are the details!
Pre-Convention Tour with Abel Tasman Sea Shuttles
Cost
Return Sea Shuttle bus, Rutherford Hotel to Kaiteriteri: $30.00 pp
Boat Trip: $140.00 pp for less than 50 people, $80.00 for 50 people or more
High tide 11.00 am
Sunset 5.30 pm
Itinerary
Out
7.45 am Depart Rutherford Hotel 9.00 am Arrive Kaiteriteri and board The Innovator
1st stop Split Apple Rock
2nd stop Adele Island (fur seals – stay onboard)
3rd stop Anchorage (birds, bush and other wildlife)
10.00 am Arrive Anchorage
Options
1 Walk to Pitt Head via the loop track and golden sands of Te Pukatea Bay. 3.2 km, easy walking (1.5 hours).
2. Walk to Cleopatra’s Pool – natural rockpools by the Torrent River. Tide dependent – see below for alternative high tide route. 6.3 km return, moderately challenging (3 hours return).
Located between Anchorage and Torrent Bay, the ethereal Cleopatra's Pools are accessible via a slight detour along the Abel Tasman Coast Track. You can save some time at low tide by cutting through the Torrent Bay estuary, or you can take the slightly more scenic high tide track through native bush and around the lagoon's edge on a good DOC track.
During low tide you can walk directly across the estuary to Torrent Bay in about 20 minutes and to Cleopatra’s Pools in about an hour. The high tide Abel Tasman Coast Track goes around the estuary and takes from one to 1.5 hours one way. As the high tide is 11.00 am it will be possible to walk back across the estuary.
It is planned that a botanist will join the walks so that people can be shown the diversity of plants in this region.
Back
4.00 pm Leave Anchorage
4.30 pm Arrive Kaiteriteri
5.30 pm Sunset
6.00 pm Depart Kaiteriteri
7.00 pm Arrive Rutherford Hotel
Notes
The boat can drop off or pick up at Te Pukatea Bay and Anchorage.
The Innovator has a café with hot drinks and snacks available as well as a viewing platform.
Packed lunches will be available to collect on the bus.
You will be able to book this tour through the JotForm at the same time you register for the convention.
Cleopatra's pool
Adele Island
Abel Tasman
First-Time Attendees Lunch
This is a new initiative, planned for the first day of the convention, Thursday 1 May.
Have you thought about attending a PSNZ convention but backed out because you don’t know anyone, or you don’t have someone to go with?
This year, at the 2025 National Convention in Nelson, we are introducing a first-time attendees lunch which will provide a great opportunity to meet other first-time convention attendees, and some of the PSNZ Council, in a more intimate setting. Make new friends and ask any questions you might have before the weekend gets into full swing.
You will be able to register for this event through the JotForm when registrations open at the end of January. Once we have an idea of the number wanting to attend, we will confirm the venue. You will be required to pay for your lunch on the day.
Thursday 1 May : Self-guided Street Photography Challenge –Out of the Dark into the Light.
In this challenge, you will head into Nelson and look for opportunities to create street photographs, looking for areas of high contrast, shadows and light. Check out Sean Tucker’s street photography work for inspiration at www.seantucker.photography/ street.
Choose your best image from the afternoon (editing allowed) and bring it to the registration desk by 9.00 am on Saturday when your image will be loaded into a folder on the laptop. (All images submitted must have been taken on the afternoon/evening of Thursday 1 May.)
The images will be evaluated by Sean Tucker and Tim Booth, with the top image announced and the winner awarded a spot prize at the convention closing on Sunday.
Saturday 3 May : Self-Guided Workshop – Getting Lost (in Nelson), the Photography Edition
The amazing Cat, creator of the card game Getting Lost, has very generously sponsored our self-guided workshop on Saturday 3 May by donating 25 Getting Lost, the Photography Edition games. If you sign up for this field trip you will receive a Getting Lost game to keep. You will then venture out for the afternoon, using the game as your photographic inspiration. Either head out alone or in a group; the decision is entirely yours.
This game gets photographers who want to find new and unique things to photograph to go on an adventure, all based on taking photos.
We'll chart your course based on the number of photos you've taken, the colour and type of those photos (and we'll throw in some directions based on your shutter speed, ISO and aperture) as well as the weather and features you can find. Once at your location, we'll have you using different photographic techniques to practise your skills and photograph things in interesting ways.
Getting Lost, the Photography Edition caters to all types of photographers with "just for fun" directions on one side for those shooting on their phone and "pro" directions on the other side for those shooting with DSLR cameras with manual settings.
Check out the Getting Lost website to see all available variations of the game at https://gettinglost.co.nz/collections/all
Building on Your Why - Speakers!
We are extremely excited to provide information about the 2025 PSNZ National Convention – Building on Your Why!
Join us for the Photographic Society of New Zealand's 70th National Convention, celebrating our Platinum Convention from 1 to 4 May 2025 at the stunning Rutherford Hotel in Nelson! PSNZ and Nelson Camera Club are extremely excited about our speaker lineup for the convention. In this issue of CameraTalk we profile the two local guest speakers we have secured as part of our captivating and thought-provoking lineup. (Our Last edition profiled our international lineup.)
Janyne Fletcher Reimagining the Landscape:
The 70th PSNZ National Convention is shaping up to be an inspiring event, and an eagerly anticipated speaker is Janyne Fletcher, a fine art photographer celebrated for her innovative approach to landscape photography. Based in the picturesque region of Central Otago, Janyne has spent years redefining how landscapes can be captured and interpreted through the lens, moving beyond traditional documentation to a more personal, evocative expression of place and feeling.
‘Re-imagining landscape art from a photography point of view has been a mission of mine for a long time,’ Janyne explains. ‘Often, photographers simply document a landscape, but I want to inscribe my own thoughts, feelings, and aesthetic into my work.’
An Artistic Evolution
Central Otago, with its rugged terrain and dramatic vistas, serves as Janyne's canvas. However, her work goes deeper than capturing the obvious grandeur. She is drawn to the region’s quieter side, its muted colours, subdued light, and soft textures. ‘Perhaps this is a reflection of my personality, and it finds its way into my art,’ she notes.
Nine Lines of Winter Trees
Janyne’s style has evolved into what she describes as "compositionally confident images in a balanced, clean, open style”. She masterfully employs contemporary photography techniques to integrate colour, shape, texture, pattern, and graphic elements into her work, crafting images that carry a distinct message or evoke a particular feeling.
‘Photography is my chosen medium and a tool to help me make art,’ she says. Her goal is to create images that invite contemplation and spark thought processes, offering a sense of grace and sophistication without alienating her audience.
A Personal and Professional Practice
Janyne’s creative process extends beyond capturing the image. She meticulously edits, prints, and frames her photographs, ensuring every detail meets her exacting standards. Her gallery in the heart of Ranfurly, a charming rural town in Central Otago, is a space that reflects her approachability and professionalism. Visitors can engage with Janyne directly, hearing the stories behind her images while appreciating the quality and craftsmanship of her work.
The gallery also serves as a hub for inspiration, where Janyne shares the magic of her home region in a way that encourages others to see landscapes differently. ‘Sharing the magic of my home in a way that invites closer inspection and consideration is a significant source of creativity and originality for me,’ she says.
Accolades and Recognition
Janyne’s dedication to her craft has not gone unnoticed. She has been named the NZIPP Landscape (Open) Photographer of the Year for three consecutive years, a testament to her consistent excellence. In recognition of her significant contributions to photography, she has achieved the prestigious Grand Master distinction from the New Zealand Institute of Professional Photography (NZIPP), the Institute’s highest distinction.
Pinecones
Gallery
Inspiring the PSNZ Community
At the 70th PSNZ National Convention, Janyne will delve into her creative philosophy, sharing insights into how she transforms landscapes into art that resonates deeply with her audience. Her talk is sure to inspire photographers to move beyond conventional landscape photography and embrace a more adventurous, personal, and expressive approach.
For those attending, this is an opportunity to learn from an accomplished New Zealand photographer and see the world through the eyes of an artist who captures both the bold and the understated beauty of the land.
Whether you are a seasoned professional or an enthusiastic beginner, Janyne Fletcher’s session promises to be a highlight of this milestone event. Don’t miss the chance to hear her story, see her work, and find your own inspiration to reimagine the landscape.
Jonathan Harrod: Inspiring Conservation Through Wildlife Photography!
The 70th PSNZ National Convention promises an exceptional lineup of speakers, including Jonathan Harrod, a marine scientist, conservationist, and acclaimed wildlife photographer. Jonathan’s work reflects his lifelong fascination with nature, a passion he channels into breathtaking images that educate, inspire, and foster a deeper appreciation for the natural world.
A Life Shaped by Nature
Jonathan’s love for wildlife was evident from an early age. Growing up in suburban Sydney, he was captivated by Saturday night nature documentaries like The World Around Us, featuring icons such as Malcolm Douglas and Sir David Attenborough.
These programmes transported him to far-off places like the Serengeti and Central Asia, igniting a desire to explore and understand the natural world.
‘The same enthusiasm that saw me chasing blue-tongued lizards under my grandmother’s house as a child, now sees me photographing Fiordland crested penguins on the remote South Westland coast of New Zealand,’ Jonathan reflects.
Road signs Maniototo Central Otago
South Island tomtit
From Marine Scientist to Wildlife Photographer
In 2008, Jonathan relocated from Sydney to Christchurch, New Zealand, where his journey into photography began. ‘From the very first moment I picked up a camera, I was hooked,’ he recalls. His passion for capturing the perfect shot has driven him to explore New Zealand’s diverse landscapes and wildlife, from rugged coastlines to serene wetlands.
Combining his scientific expertise with an artistic sensibility, Jonathan sees photography as more than just a craft, it’s a tool for storytelling and advocacy. ‘My photography has given me the chance to marry my love for wildlife and nature with my love for art and design,’ he says.
A Mission to Educate and Inspire
Jonathan’s images have been featured in National Geographic and other global publications, as well as in books, calendars, and digital media. Through his work, he seeks to highlight the beauty of even the most unassuming subjects, urging viewers to recognise the importance of conservation.
‘Like many wildlife photographers, I use my photography as a tool to educate, inspire, and instil in people a greater love and appreciation for the natural environment,’ Jonathan explains. He hopes his images spark a connection with nature that motivates others to protect it.
The Perfect Shot: a Blend of Art and Science
Jonathan’s scientific background informs his photography, lending an understanding of animal behaviour and ecosystems that enhances his ability to capture unique moments in the wild. His artistry, however, is what sets his work apart. Jonathan’s images not only document wildlife but also evoke emotion, offering a sense of wonder and connection that resonates with audiences worldwide.
At the 70th PSNZ National Convention
Attendees at the convention will have the rare opportunity to hear Jonathan share his journey from marine scientist to photographer, along with the techniques and philosophy that underpin his work. He’ll also discuss the vital role photography plays in conservation, inspiring photographers to see their work as a powerful tool for change.
Blue duck
Paradise shelduck | Pūtangitangi
Jonathan’s story is a testament to the transformative power of photography, merging art, science, and passion to create images that not only captivate but also advocate for the natural world. Don’t miss the chance to learn from one of New Zealand’s inspiring wildlife photographers.
Kotuku
Nelson Convention 2025 – Workshops
With a stellar lineup of guest speakers presenting at our National Convention in Nelson, it will come as no surprise that the workshops on offer will be equally as enthralling.
Our two keynote speakers, Sean Tucker and Tim Booth, are currently busy putting together some unique content for all those lucky enough to get to spend some hands-on time with either or both of them.
As a bit of a teaser, we know that Tim Booth is planning a workshop centred around Find Images Anywhere, with an emphasis on finding simplicity amongst the chaos.
Participants will be able to stroll locally with Tim, with their camera gear, expertly guided through the workshop along the way. Tim’s aim is for everyone to finish with a feeling of achievement, rather than feeling too challenged. There is also the possibility of a casual post-production session with Tim after the workshop. If you can fit a tripod and a cable release into your luggage, they might be useful for this workshop.
Noelle Bennett APSNZ refers to herself as a nature lover who takes photographs. Her workshop, titled Do You See What I See? promises to take participants on a photographic journey of discovery... with a twist!
Have you ever wondered whether we all see things in the same way? Have you ever been confused when somebody has been talking about an image – maybe even one of your images – and what they say bears no resemblance to what you were thinking when you were viewing/making the image? Join this workshop with Noelle, and see if you can find out just how differently we each see our world. You’ll need your camera, an open mind, lots of curiosity and plenty of enthusiasm!
Shirley Kerr will share her knowledge of fungi photography in her workshop, followed by putting it into practice during the field trip.
The workshop will focus on learning the basics about fungi, the many different types, and where and when to find them. It will also cover the type of equipment you need – cameras, lenses, tripods, lighting – from simple gear to the more sophisticated (and sometimes expensive!) used for macro photography. Bring along the gear you have, no matter how basic you think it is.
On the field trip we will put ideas into practice. If the autumn has been unfavourable for fungi, there will still be many other life forms in the bush to photograph. You do not need to have attended the workshop to take part in the field trip.
Workshops will be run by our other presenters –Sean Tucker, Janyne Fletcher and Jonathan Harrod. As more information becomes available, we will update the convention website, so keep an eye out here: https:// national.photography.org.nz.
Shirley Kerr
Noelle Bennett
Draft Programme
Wednesday, 30 April 2025
7:45 am Pre-Convention Tour with Abel Tasman Sea Shuttles (extra cost)
1:30 pm Self Guided Photo Hunt - Prize for best image
5:30 pm Opening of Sony National Exhibition | Cash Bar
7:00 pm Mihi Whakatau. Opening and welcoming remarks
7:30 pm Speaker Session - Keynote Speaker 1
9:00 pm Closing Message
Friday, 2 May
6:00 am Early Morning Shoot
8:00 am Welcome Message
8:15 am Trade Presentation
9:15 am Speaker Session - Keynote Speaker 2
10:15 am Morning Tea
10:45 am FIAP and Canon Online Awards
11:00 am Speaker
12:00 pm Lunch at Venue
1:00 pm Workshops
3:00 pm Afternoon Tea
3:30 pm Sony Exhibition Digital Viewing (Spot Prize)
4:00 pm PSNZ Annual General Meeting
5:30 pm Jack Sprosen Viewing
5:45 pm Four Nations and Interclubs Viewing
6:00 pm Dinner (own arrangement)
7:30 pm Speaker
8:30 pm Close for the evening / Messages
8:45 pm Painting by Light (optional)
Draft Programme
Saturday, 3 May
6:00 am Early Morning Shoot
7:30 am President's Breakfast
8:30 am Welcome Remarks, Programme Update
8:45 am Speaker
9:45 am Awards Presentation - Salons
10:30 am Morning Tea
11:00 am Speaker Session - Keynote Speaker 2
12:00 pm Lunch (packed lunch provided)
1:00 pm Field Trips (12:30 for those leaving by bus)
6:30 pm Pre-Banquet Drinks
7:00 pm CRK Honours Banquet
Sunday, 4 May
6:00 am Early Morning Shoot
8:45 am Welcome Remarks, Programme Update
9:00 am Workshops
11:00 am Morning Tea
11:30 am Speaker Session - Keynote Speaker 1
12:30 pm Invitation to National Convention 2026
12:45 pm Closing Remarks from PSNZ President, Caroline Ludford
Editorial :The Future of Photography
By Paul Whitham APSNZ
When you are in a camera club you can sometimes get a rather distorted view of the world. Whenever we go out as a group, everyone has a real camera and the focus is always on that equipment. However, in the real world things are quite different.
Back in July my wife and I travelled to Italy and then on a cruise around the Mediterranean, stopping at many of the popular tourist spots. There were several occasions when the captain opened the bow section of the ship to give people opportunities to take photos. The ship carried nearly 2000 passengers and at least 10 percent of the passengers would take up such opportunities. What amazed me was how few were using real cameras. I would estimate that there were only around ten passengers with them. That is not to say that the others were not taking photos; it was just that they were using their phones.
Even when we were on land the situation was similar. At a crowded Trevi fountain in Rome, I only spotted two people with cameras, yet everybody was taking photos.
With such small numbers carrying real cameras, it was quite difficult to be inconspicuous, especially if you were trying to capture candid street photos. On several occasions, I also left the camera behind and just used my phone. Its low light capability, and the ease with which I could share images with family back home, made it a no-brainer to use.
Trevi Fountain - find the guy with the camera
So, where does this leave organisations such as clubs and PSNZ, as well as the camera industry? In terms of the latter, we already know that cell phones have decimated the point-and-shoot market.
However, it may not be all doom and gloom.
In a Japanese interview with Yomiuri, Nikon’s president, Muneaki Tokunari, acknowledged that while smartphones harmed overall sales of digital interchangeable lens cameras, they may contribute to the demand for high-end cameras.
He argues that while smartphones initially led to the contraction of the camera industry, they are now a significant driver for the current and future success of camera companies. ‘I think smartphones have broadened the base of photography. As a result, our high-end models, which are at the top of the camera pyramid, are selling well,’ Nikon’s president says.
‘Smartphones have taught people the joy of sharing their photography with the public, and the target audience has expanded,’ Tokunari explains. ‘As a result, interchangeable lens cameras, including from other companies, are doing well compared to compact digital cameras and cameras with noninterchangeable lenses.’
For PSNZ and clubs, the first challenge is to get over the snobbery that has existed about cellphone photography and then to embrace it in the same way that we moved from film to digital. People who are passionate about their images will then become our club and PSNZ members of the future.
Stomboli volcano erupts - captured with an Iphone
Nikon President Muneaki Tokunari
Mentoring
By Councilor for Club Liaison Sandy Odell LPSNZ
One of the greatest strengths of the Photographic Society of New Zealand is the incredible talent, experience, and knowledge within our membership. Many of you have honed your skills over years of dedication to photography, and now, we’d like to invite you to share that expertise with the next generation of photographers.
Why mentoring matters
Becoming a mentor is about more than just teaching techniques or answering questions – it’s about fostering a sense of community and helping newer members feel supported as they grow on their photographic journeys.
Your guidance can make a significant impact, whether it’s offering feedback, sharing tips, or simply encouraging someone to push their creative boundaries.
Benefits of mentoring, you can
¾ Inspire others: help newer members discover their potential and develop their unique style.
¾ Strengthen connections: build lasting relationships with fellow photographers and contribute to PSNZ’s vibrant community.
¾ Grow together: mentoring can be a two-way street; sharing your insights often leads to fresh perspectives and inspiration in your own work.
How you can help
Mentoring doesn’t require a significant time commitment. It could be as simple as answering questions, reviewing portfolios, or catching up over coffee to discuss photography. PSNZ can help connect you with newer members and provide resources to make the process easy and rewarding.
Ready to make a difference?
If you’d like to get involved as a mentor, please let me know by email liaison@ photography.org.nz or by visiting the PSNZ website and going into “Member Login”. Under Learning Opportunities you will see “Find a Mentor” and details are there to help you become a mentor.
Together, we can ensure that every member of PSNZ feels supported and inspired to grow.
Thank you for considering this opportunity to give back to our community and help strengthen the creative bonds that make PSNZ so special.
Why is Generative Artificial Intelligence Banned from Competitive Photography?
By Annette Johnston FPSNZ - PSNZ Councillor for Salons
PSNZ has taken a firm stand against the use of Generative Artificial Intelligence in our competitions. By doing so, we align ourselves with esteemed photographic bodies such as the Fédération Internationale de l'Art Photographique (FIAP), the Photographic Society of America (PSA), the Canadian Association for Photographic Art (CAPA), the Australian Photographic Society (APS), and the Royal Photographic Society (RPS).
One could ask, why has this technology caused such widespread disapproval from the worldwide photographic community? The answer lies in the authenticity of the image, being based solely on optical captures made by the individual photographer.
To add some context, it is necessary to back up a little. Photography, a term derived from the Greek words "photo" (light) and "graph" (to draw), translates to “drawing with light”. Photography is all about a photographer capturing moments and recording these moments on light-sensitive surfaces such as glass slides, film, or the modern-day equivalent, digital sensors. Photography is an optical capture of the world by a photographer.
To fully appreciate the prohibition of Generative Artificial Intelligence (Generative AI) it is essential that we understand the fundamental difference in post-production between the use of Artificial Intelligence (AI) and the use of Generative AI.
Post-production can involve traditional (think dodging and burning) tools as well as AI tools, and all are computer algorithms that, under the control of the photographer, manipulate pixels which had been optically captured by the photographer. AI tools may include sophisticated denoising as well as things such as content-aware fill. The image content being manipulated may come from more than one optical capture by the photographer, and the manipulation could include focus stacking, blending of different exposures, or production of composites. Such postproduction, including the use of AI tools, does not introduce new data; it manipulates existing original content from the author.
Generative AI, as the name implies, generates completely new image content which is not based on adjustment of what the author captured, but instead based on billions of images that were captured by others. Thus, it creates new content which was never optically captured by the author and is, in fact, based on work by other authors.
The notion of only accepting photographic submissions created by the individual photographer has long been a PSNZ standard.
The early prohibition of “Fractals” and, more recently, the prohibition on the use of purchased textures, are two examples. The rationale for both is that neither are optical captures created by the photographer.
A few examples of Generative AI in Lightroom/Lightroom Classic and Photoshop that are not permitted are:
• Generative Remove Tool uses Generative AI when the box for Generative Remove is checked.
• Generative Fill: a tool that lets you add, remove, or modify image elements using text prompts. You can use it to create concepts, expand your canvas, or add shadows, reflections, and lighting.
• Generative Expand: a tool that lets you enlarge images and add new content.
• Text to Image: a tool that lets you create scenes from scratch.
• Generate Background: a tool that lets you add or replace a background.
How is PSNZ going to police the use of Generative AI?
PSNZ has traditionally functioned on a hightrust model, and ensuring compliance with the Generative AI prohibition will be approached the same way. The high-trust model has worked well, for example, with general adherence to the nature photography rules.
The ban on Generative AI will follow this hightrust approach. It should be noted that PSNZ reserves the right (it is in the rules) to request original files should the selectors think there is a question about the authenticity of an optical capture.
Finally, it is important to note that this restriction on the use of Generative AI is only applicable to members' submissions governed by PSNZ, including PSNZ-run exhibitions, salons and competitions, honours portfolios, and NZ Camera.
The broader use of Generative AI falls outside the jurisdiction of PSNZ, and there is no doubt that some of our members will enjoy exploring the possibilities of Generative AI within the wider art genres.
Coming Soon:
PSNZ SONY National Exhibition
Held in conjunction with the PSNZ National Convention and supported by Nelson Camera Club.
Entries Open: 9.00 am, 20 January 2025 and Close: 5.00 pm, 22 February 2025
40MP X-Trans CMOS 5 HR Sensor | X-Processor 5
7.0-stop IBIS | 20 Film Simulation modes | Auto Mode
Subject detection AF | Tap to track AF in video mode
6.2K/30P video | Pop-up flash | Built-in wireless, Bluetooth
My Journey to Judging: From Workshop to Accreditation
By Brian Turner LPSNZ
It all started when the Taupō judge training weekend was cancelled, leaving several of us from the club feeling disappointed. We were eager to attend but didn’t want to lose the opportunity. So, the idea came up: why not co-host a training weekend with PSNZ, right here in Cambridge? It seemed the perfect way to give more local photographers a chance to participate. Before we knew it a date was set and, as soon as PSNZ advertised the event, applications started rolling in from all over the North Island. It was clear – this was wanted by more than our local clubs.
We originally planned to hold the event at a cozy café in town, but it soon became obvious that the space allotted to us wasn’t going to cut it. The venue was capped at 15 people, and the registrations kept coming in! Thankfully, we found a larger spot at the newly renovated cricket club on the town square, and it worked perfectly. Once the PSNZ trainers – Caroline, Neil, Paul and Annette – arrived, we jumped straight into the workshop, and it was a whirlwind of learning. The knowledge we gained from them was invaluable.
The weekend turned out to be a big success, and it wasn’t just about judging. Even those who had no intention of becoming a judge came away with new confidence in crafting their own images, rather than simply trying to recreate what other photographers had done. Personally, I wasn’t sure at first if I wanted to go down the judging path, to commit to the time and energy, but after some discussion with my family, I decided to take the plunge.
I reached out to the Judge Accreditation Panel (JAP) and was paired with a mentor to guide me on this new journey.
I have to give a huge thank you to Judy Stokes APSNZ, my patient and insightful mentor, who guided me through those first assignments. Her feedback helped me see beyond the surface of an image and focus on the details that really mattered. I was receptive to her honest and sometimes quite pointed critiques as I worked my way through the process. I was here to learn. One lesson from the workshop that stayed with me was this: every image deserves respect because it’s the best representation of that subject at that moment for the photographer. I always kept that in mind, imagining how I would feel if my image was being critiqued. It adds a bit of pressure, but it’s a crucial part of the process.
As a trainee, time management became essential. Accredited judges have 20 to 30 days to complete an assessment but, as a trainee, I needed to allow extra time for my mentor to review my work and offer feedback. This back-and-forth was important to ensure I was staying aligned with PSNZ’s high standards.
The more I worked through the assessments, the more confident I became. I started to feel more comfortable by offering feedback that was respectful yet honest.
But there was always that little voice in the back of my mind, wondering how the club members would feel when hearing my comments. After all, I’ve been in their shoes, receiving feedback that wasn’t always positive.
One thing I quickly realized is that judging is subjective. Sometimes, images that don’t do well at club level go on to win awards in national or international competitions. It’s a reminder that every judge has their own interpretation, and what resonates with one person might not connect with another. That’s part of the beauty – and challenge –of the judging process.
As a judge, you also have to be ready for feedback from the clubs. They fill out a Judge Assessment Questionnaire, which is incredibly valuable for trainees like me. It helps us understand how our responses were received and highlights areas where we can improve. Some clubs are great at returning these forms, while others might need a gentle nudge, but it’s all part of the learning process.
Eventually, my mentor felt I was ready to step up and deliver an assessment in person. This added a whole new level of pressure – standing in front of a room full of people, critiquing their images while they’re sitting right there! But it’s also rewarding because you get to interact with the photographers, and they can put a face to the name that’s been giving them feedback.
Finally, the day came when I received my first official assessment set from JAP. This was the real deal – ten images, written assessments, and even an audio recording. If you’ve never done that before, let me tell you, it’s a bit nerve-wracking!
You want everything to be perfect, from your commentary to avoiding interruptions like coughing or the family barging in midassessment.
After some feedback from JAP, and as I worked through more club assessments, JAP wanted me to do another assessment set of ten images, to be sure I had taken on board their feedback. Talk about pressure. Eventually, my mentor said I was ready for the final test: 20 images to assess. It felt like a final exam, but after all the practice, I knew I was ready. I completed both the written and audio assessments and sent them off, waiting anxiously for the response. When I was finally told I had passed and was now an accredited judge, it was announced at the North Island Regional Convention. It was a proud and public moment.
Looking back, the journey to becoming a judge took just over a year and included reviewing 327 images as part of the training. Was it worth it? Absolutely. Not only has it changed the way I approach my own photography, but it’s also given me the opportunity to see some truly amazing work from other photographers. I’ve learned to assess images with respect and care, understanding the effort and creativity behind each one.
And the best part of judging? It’s getting to see the hidden talents of club members and witnessing firsthand just how far people’s creativity can go. That, to me, is the real reward.
Whanganui Salon - Back Again, in Early 2025
By John Smart APSNZ
The Whanganui Salon was a prestigious national photography print salon from the 1950s to the 1990s, with annual exhibitions in the Sarjeant Gallery. The Whanganui Camera Club has continued with an annual framed print exhibition ever since, but this is for club members only. You can see images from this year’s exhibition here: https://www.whanganuicameraclub.org. nz/2024-annual-members-exhibition.html
With the club celebrating its 125th anniversary in 2019, we decided to resurrect the Whanganui Salon as a national digital salon. Our thinking was to create a boutique salon that would be different to other national photography salons, and settled on the theme Humanity and Earth. With over 400 entries in its first year and a distinctive look, we decided to continue with a biennial salon and build on the Humanity and Earth theme. In 2021 and 2023 we added the Vonnie Cave Gold Medal to the winner’s prize, in recognition of Vonnie’s significant contribution to Whanganui and New Zealand photography.
We will be running the Whanganui Salon again in April 2025, with entries open to all New Zealand-based photographers. There will be three subcategories:
• Humanity and the Natural World
• Living in a Changing World
• Made in New Zealand
Our three judges this year are
• Judy Stokes APSNZ
• John Boyd Hon FPSNZ Hon PSNZ APSNZ and
• Jackie Ranken GM II NZIPP GMPhotog PB AIPP
As in past years, we are very grateful to our sponsors for their generosity in supporting the Salon.
• ProGear Photographic
• Print Art
• Photography by Woolf
• Whanganui Photo and Print
If you enjoy taking photos that shine a light on the relationship between humankind and the planet we live on, this is the salon for you. You can see all the details here: https:// www.whanganuicameraclub.org.nz/whanganuisalon-2025-information.html
Winner 2023 - Irishman Creek Roadmans Hut 1916 - Margaret Irving APSNZ
Winner 2021 - Escape over the wire - Alan Martin
Winner 2019 - The Cooling Tower - Jay Drew APSNZ MNZIPP
Tips for Capturing the Best Photographs During the Holiday Season
The holiday season is a magical time filled with joy, laughter, and precious moments with loved ones. Capturing these moments in photographs can help preserve the memories for years to come. However, taking the perfect holiday photo can sometimes be challenging. Here are some tips to help you get the best photographs during the festive season.
1. Embrace Natural Light
Lighting is one of the most crucial elements in photography. During the holiday season, natural light can add a warm and inviting glow to your photos. Try to take advantage of the daylight hours by positioning your subjects near windows or outdoor spaces. The soft, diffused light of early morning or late afternoon can create beautiful shadows and highlights that enhance the overall composition of your photo.
Pro Tip:
Avoid using harsh overhead lighting or direct sunlight, as it can create unflattering shadows and wash out your subjects. Instead, opt for the golden hour – the hour after sunrise and the hour before sunset – for the best lighting conditions.
2. Set the Scene with Festive Decorations
Holiday decorations can add a touch of magic to your photos. Whether it's a beautifully decorated Christmas tree, a menorah with glowing candles, or festive garlands and lights, these elements can serve as a perfect backdrop for your holiday photos. Pay attention to the colours and textures of the decorations, and try to incorporate them into your shots to create a festive atmosphere.
Pro Tip:
Don't be afraid to move decorations around to get the best composition. Experiment with different angles and perspectives to find the most visually appealing setup.
Photo by Monika Grabkowska on Unsplash
Paul Whitham APSNZ
3. Capture Candid Moments
While posed photos are great, candid shots often capture the true essence of the holiday season. These spontaneous moments of joy, laughter, and interaction can tell a story and evoke emotions that posed photos might not. Keep your camera ready and be on the lookout for those genuine moments – a child opening a gift, a family member laughing, or a group of friends sharing a toast.
Pro Tip:
Use a fast shutter speed to capture quick movements and expressions without blurring the image. This will help you freeze those fleeting moments in time.
4. Get Close and Personal
Sometimes, the most impactful photos are the ones that showcase the details. Don't be afraid to get up close and personal with your subjects. Whether it's the intricate design of an ornament, the texture of a warm scarf, or the sparkle in someone's eyes, focusing on the details can add depth and dimension to your photos.
Pro Tip:
Use a macro lens or the macro mode on your camera to capture close-up shots with sharp focus and stunning detail. This can make even the smallest elements of your holiday celebrations stand out.
Paul Whitham
5. Play with Perspectives
Experimenting with different perspectives can add a unique touch to your holiday photos. Instead of always shooting from eye level, try changing your angle. Get down low to capture a child’s point of view, or shoot from above to include more of the surroundings in your frame. Playing with perspectives can make your photos more dynamic and interesting.
Pro Tip:
Use a wide-angle lens to capture a broader scene, especially if you're photographing a large group or a beautifully decorated room. This can help convey the full atmosphere of the holiday setting.
6. Use the Rule of Thirds
The rule of thirds is a fundamental principle in photography that can help you create balanced and visually appealing compositions. Imagine dividing your frame into a grid of nine equal parts by two vertical and two horizontal lines. Placing your subject along these lines or at their intersections can create a more dynamic and engaging photo.
Pro Tip:
Many cameras and smartphones have a grid option that you can turn on to help you apply the rule of thirds while composing your shot. This simple technique can significantly improve the composition of your photos.
7. Include Family and Friends
The holiday season is all about spending time with loved ones, so make sure to include them in your photos. Group shots can be a great way to capture the spirit of togetherness. Arrange your family and friends in a way that showcases their personalities and relationships. Encourage them to interact naturally to get more authentic and memorable photos.
Pro Tip:
Use a tripod and a timer or remote shutter release to include yourself in the group shots without any hassle. This way, you can be part of the memories too.
Paul Whitham
8. Post-Processing and Editing
Editing your photos can enhance their overall look and feel. Simple adjustments to brightness, contrast, and colour balance can make a big difference. There are many photo editing apps and software options available that are user-friendly and offer a range of tools to help you perfect your photos.
Pro Tip:
Avoid over-editing your photos, as it can make them look unnatural. Aim for subtle enhancements that preserve the authenticity of the moment.
9. Tell a Story
A photo is worth a thousand words, but a series of photos can tell a beautiful story. Think about the different elements of your holiday celebrations and how you can capture them in a sequence of images. From decorating the tree to baking cookies and opening presents, documenting these moments can create a cohesive narrative that reflects the joy and warmth of the season.
Pro Tip:
Create a photo album or a digital slideshow to share your holiday story with family and friends. It's a wonderful way to relive the memories and celebrate the season together.
10. Have Fun and Be Creative
Above all, remember to have fun and be creative with your holiday photography. Experiment with different techniques, play with lighting and perspectives, and let your creativity shine. The best photos are the ones that capture the joy and magic of the holidays in a way that is uniquely yours.
In conclusion, capturing the best photographs during the holiday season is all about being prepared, paying attention to details, and embracing the festive spirit. With these tips in mind, you'll be well on your way to creating stunning and memorable photos that you'll cherish for years to come.
Happy holidays and happy photographing!
Paul Whitham
The Importance of a Good Background
Asks Toya Heatley FPSNZ AFIAP
If I am heading out with a plan to photograph a particular bird, the first part of that plan is to think about where the bird is likely to be and how I might capture the bird with a background that will allow the bird to be the focus of the image. Ideally, I will know the location well and will know exactly where my best vantage point is to achieve that, but sometimes it can be very easy to get excited about seeing the bird and forget what is behind it.
It has taken me many years, but I am now a little more controlled and while I might see the birds and know that an image could be captured, if the background is not going to work for me, I will not click the shutter. Don't get me wrong; I will capture a huge number of images in my attempt to get the perfect shot, but I am way more selective about when I start that process. Read on to see how I achieve soft dreamy backgrounds.
I scout my planned location:
Until I get to know a location, and the birds that I will find there, I find it is a good idea to go without any expectation of achieving “the” image of dreams. Most birds are creatures of habit. They will use the same perches regularly. They will often have a pattern of behaviour that they will repeat often. Many of them are territorial and can be found in the same area on a regular basis. All these behaviours allow me to look for the perch that has the best background for the image I want to create.
What I look for...
What I am looking for when checking out the location of my shoot, is the distance between where I want the bird to be and anything behind it. Using my front yard (which is very small) as an example, I am looking to position myself where I can see the bird land as close to me as possible, with a clean background behind it. Usually this will be the trees across the road from my house.
We all hate it when a judge says, ‘If you had just moved a little to the right (or left),’ however it is a useful phrase to keep in mind. I frame the image, take the shot, and then move a little either to the left or right (if it is safe to do so) and take another if I have the opportunity. I like to give myself options when it comes to processing my images, and I don't keep them all, just the ones I am happy with.
Don’t rely on post-processing.
I know there are many post-processing tools available now; we really are spoilt for choice. However, I prefer to do very little post-processing to my images. I never alter the backgrounds. I will adjust the levels to bring out the best of the image I have created; often that will give my backgrounds a more dramatic look or feel, but I never add blur of any kind or remove obstructions.
Soft dreamy backgrounds can absolutely be achieved in-camera and all it takes is distance between the subject and whatever is behind them. This is the same if I am photographing a bird, a model or even a flower in the garden.
F-stops are important also.
I move between f4.5 and f8 in my bird photography. It generally depends on how sharp I want the entire bird to be. Most of the time my lens is set to f8, and all my example images have that setting. I am not going to achieve a soft background if my depth of field is too wide, so I keep it to where I know the bird will be clear, and the background softly out of focus.
Putting it all into practice...
Once I have done all my prep work, and know where I want to be situated to achieve the image I have in mind, then it is just a case of waiting for the birds to behave as predicted to capture that magic image.
This is where I don't want to rush. I try to be patient, relax and wait for the birds to land where I want them to. I pre-focus so the camera is at the ready and I don't get caught up in the rush to focus.
If this article has been helpful to you, I would love to hear about it. Send me a message at https://www.digitalpix.co.nz/contact/
AV Notes
By Trish McAuslan FPSNZ AV-AAPS EFIAP/b FAPS PSNZ Coordinator of Audio-Visuals
Jack Sprosen Memorial Trophy Competition 2024
After last year’s competition, I had almost decided that there wasn’t enough interest in the Jack Sprosen for it to continue. It is mainly due to encouragement and support from PSNZ President Caroline Ludford LPSNZ ANPSNZ LRPS that I decided to give it another go. Thank you very much, Caroline. We began with a series of Zoom workshops which went through the process of creating an AV. By using Zoom we were able to provide access for anyone interested, no matter where they lived in New Zealand. After the workshops finished there was a request from some of the participants to keep the group going in some form.
We decided to try an online AV group using Zoom, meeting every second month. This has also been successful with a membership of 28 AV enthusiasts who meet to share AVs and challenges. One reason for the success has been the support from Janet Munning LPSNZ LRPS in setting up the Zoom meetings and recording each of the workshops and group meetings. These videos have made it possible for any member who has not been able to attend to request a copy of the video and not miss out.
I would also like to thank Annette Johnson FPSNZ who is the PSNZ councillor responsible for competitions, including the Jack Sprosen. We discussed some of the rule changes that were introduced this year. Annette then discussed them with Council which approved them.
The reason for all this activity was to increase the number of entries into the Jack
Sprosen, and we can certainly say we have been successful. Compared with last year there were twice as many AVs and twice the number of entrants in this year’s competition. The Jack Sprosen will continue for at least another year – and hopefully much longer. A very big thank you to everyone who supported this year’s competition.
Every competition needs judges and this year we were lucky to have three enthusiastic and experienced judges. They were Matt Leamy LPSNZ (Tauranga), Helen McLeod FPSNZ GPSA ARPS (Christchurch) and Alia Naughton AV_AAPS CAPS/b SAPS (Australia). The judges first assessed each AV on their own devices and then met on Zoom to discuss and make decisions about the final awards.
Congratulations!
The Jack Sprosen Memorial Trophy was won by Kevin Chong for his AV The Fire Dancers. Kevin also won the Novice Award for this AV.
The Silver Medal was won by Vivianne Baldwin FPSNZ AFIAP with an AV about the Australasian Gannets.
The Bronze Medal was awarded to Zhen Yang LPSNZ for his AV Land of the Midnight Sun.
Merit Certificates were awarded to Bruce Burgess FPSNZ Memorials to 9-11
Carolyn Hope FPSNZ ANPSNZ Native Forests of New Zealand
Paul Byrne FPSNZ ARPS AFIAP I Like Birds That Sing
Certificates of Excellence
These certificates recognise excellence in an aspect of audio-visual creation.
Ian Purden APSNZ Teamwork Is at the Heart of What We Do
John Smart APSNZ Inarticulate Speech of the Heart
John Smart APSNZ Te Rerenga Wairua
Sheryl Williams APSNZ Australasian Gannets at Muriwai Beach
A playlist showcasing the successful audiovisuals will be available until 24 December on YouTube. If you would like to watch this programme of 14 successful AVs, taking just over an hour to play, please email me for the link and a copy of the programme. (mcauslanav@gmail.com).
International Competitions
Challenge 321 – an audiovisual contest. Entries will open on 15 January and close on 15 March. There is no further information available at present. Either contact me or watch out for details in the next CameraTalk.
Adelaide International AV Festival – entries open on 22 January and close on 3 March.
Jurassic International Audiovisual Salon –entries open on 1 January and close on 31 March. https://www.exmouthphotogroup. com/
Chaos and Curry! Navigating India for the FIAP Congress
By Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP ESFIAP
My Indian adventure began at the airport when I was whisked off to hotel #1, only to be told I wasn’t registered there. Feeling a tad uneasy, I was put into another cab and sent to hotel #2, where the same story awaited me. After another cab ride back to hotel #1, I finally located my name on the list by myself. Phew. After 36 hours since leaving New Zealand, I at last had somewhere to rest my head, even if the check-in process resembled a treasure hunt.
The first morning set the tone for the week. We arrived bright and early for an 8.00 am start to our meeting, only to wait an hour for the venue to be ready. Lesson one: Indian time operates on its own special clock. Once underway, we plunged into lengthy debates about proposed changes to FIAP distinctions. Thankfully, the changes won’t kick in until 2026, so future applicants can breathe easy –for another year.
The next day saw us herded onto seven buses, sorted by language groups. I sat with the Irish crowd because, frankly, they matched my sense of humour. The outing was an initiation of sorts – heat, rubbish everywhere, persistent peddlers, and an unrelenting chorus of motorbike horns as riders weaved through the throngs of people. If you dared accept anything from peddlers, they’d demand payment. And if you innocently snapped a photo of their adorable kids? Outstretched hands followed, asking for money. Still, there was an amusing side to it. A youngster stopped me for a selfie with me, presumably thinking, ‘Here’s my chance for a photo with the craggy-faced white foreigner!’
The Pushkar Camel Fair was a bit like an agricultural show back home, except here, the star attractions were camels. These camels, poised for the parade and sale, were clearly undergoing their own brand of spa day –complete with decorative embellishments and “hairstyles” that they loudly objected to. Imagine a camel haircut with a soundtrack of groans and grumbles! They certainly weren’t shy about sharing their thoughts.
From there, we visited the heights of historic Amer Fort, riding elephants up to the top. It started well – until our elephant decided he wasn’t quite in the mood for an incline that day. The little driver sitting behind the elephant's head became increasingly vocal about it, as did my anxiety that our ride might suddenly decide to take off at Formula 1 speed. Fortunately, the elephant ahead came to the rescue, giving our one the motivation it needed to reach the summit, with us swaying around in our seats.
Once we disembarked, we admired the construction and tile work. When it was time to leave, we attempted a leisurely walk down through a market area, though “leisurely” might be a bit optimistic. Stopping was illadvised for many reasons – top of the list, pickpockets.
Second, the sheer volume of peddlers, keen to sell you everything from mini wooden chessboards to fridge magnets or small drums (which they graciously banged right beside your head to “demonstrate” their charm). And, as an added adventure, you had to dodge heaps of rubbish along the way. At the base, we gathered to await our bus, which was engaged in a tactical manoeuvre through an endless stream of honking bikes and cars. While we waited, practising our ‘No, thank you’ lines to the peddlers, I suddenly felt a nudge at my feet. Turning around, I found myself face-to-face with a wandering cow which had decided that the plastic bags near my feet looked like a promising lunch.
Cow bomb
Amer Fort
Camel's haircut
Among the chaos, colourful marketplaces were brimming with vibrant clothes, bags and food. Alas, exploring was out of the question. Our guide, armed with a waving stick, herded us along like a group of distracted sheep, discouraging stops for anything but snapshots. Adding to the mayhem were motorbikes weaving through the crowds, their horns blaring like an incessant soundtrack. It was a game of dodge or be flattened, but somehow, we all survived. This is the “buzz of India”.
Back at the hotels, food was served buffetstyle in grand silver troughs. Unfortunately for me, spice and I aren’t on speaking terms, so I subsisted on a diet of rice, noodles and vegetables. Banquet nights were accompanied by Bollywood music at volumes that made conversation impossible. If you wanted to chat, you’d need to resort to sign language or semaphore.
One evening brought a surprising turn of events. I heard my name called for an award. Assuming I was collecting it for someone else, I shuffled forward – only to discover it was a service award for me! My partner back home, ever the joker, said, ‘Good thing you plucked your eyebrows before you left.’
One of the highlights of the trip was visiting the Taj Mahal which stood majestically there as it has done for hundreds of years. We arrived early to “avoid the crowds”. Ha! Seven busloads of photographers don’t exactly scream solitude. Luckily I was in the first bus, so managed to snap a few shots quickly before the rest arrived. From there on the usual hoards of tourists were vying for selfies on Diana’s famous bench, and the scene was far from serene. What I initially thought was a romantic morning fog turned out to be smog – a fitting metaphor for the layers of chaos and beauty that is India.
Taj Mahal
Bling
Greetings
The trip concluded with a viewing of the 2024 Black and White Biennial print winners, which were truly stunning. FIAP is preparing a Biennial book of winners’ sets, which I’ll try to have digitised for members.
All in all, it was a memorable cultural cocktail of history, animals, crowds and unplanned nudges from hungry cows. As for India, I left with a lifetime of memories – and the “dreaded lurgy”. It’s good to be home, recovering and reflecting on the whirlwind that was Congress in the land of spices, selfies, and surprises.
A brief rundown of the changes to be made to the distinction requirements:
• As expected, there will be an increase in numbers required for the various levels.
• FIAP has Introduced a new “Introductory level” PHFIAP which will precede AFIAP.
• They are also introducing a completely new section that is not salon-based. It is for portfolios/sets and will have the usual levels of achievement.
• FIAP is taking AI cheating seriously and AIdetecting software is being investigated for use in salons.
• There is still open debate over the inclusion or exclusion of print requirements at the various levels, and this will be sorted out soon.
• The next photo meeting will be in China from 23 to 31 Aug 2025.
• The next Congress will be in Brazil in August 2026.
• Because of the amount of AI found in the recent Nature Biennial this year, Raw files (or Jpegs) of the original image (before editing) will need to be kept and metadata visible. This is to check on any AI that the “AI software” may have picked up. If you can’t supply this when asked for, you will be disqualified. It is best not to use the content-aware tool in PS or you may be in trouble.
• A new official document will follow shortly and will replace our current one, effective in January 2026.
The Nikkor Z 28-400 mm Lens – a Review
By Paul Whitham APSNZ
One lens to rule them all! Earlier this year my wife and I embarked on a month-long trip around Italy and the Mediterranean. I decided early on that I wanted to travel light and would only take one lens and body with me. I knew that in many places we would not have a lot of time, and mucking around changing lenses was not on the agenda.
So, when Nikon announced the Nikkor Z 28-400 mm f4 lens, I was definitely interested. This would give me a single lens that could cover both wide shots and also let me get in close when I wanted to. I watched quite a lot of YouTube reviews and they all seemed quite reasonable. So, through our partners at Lacklands, I took possession of one.
This review is intended to provide an assessment of how the lens performed in the field under real situations. I am not going into intimate details or pixel-peeking.
Weight and portability
Given its extensive zoom range, the Nikkor 28-400 mm lens is relatively lightweight and compact. Weighing approximately 790 grams, it is portable enough for travel and outdoor photography, yet sturdy enough to withstand the rigours of professional use. The lens also features a weather-sealed construction, providing added protection against dust and moisture, making it suitable for use in various environmental conditions.
The lens extends out as you move up the focal range. At 28 mm it is 15.5 cm in length, extending to 24.5 cm at 400 mm. This meant that I was able to carry the camera and body in a relatively small camera bag.
Focal lengths
At the wide end, the 28 mm focal length is perfect for capturing expansive landscapes, architectural shots, and group photos. The lens produces sharp images across the frame, with minimal distortion and excellent edgeto-edge clarity. Zooming to the 400 mm end, the lens transforms into a powerful telephoto tool.
The base aperture range ran from f4 at 28 mm, climbing rapidly to f8 by the time that you were around 180 mm. This meant that at the longer focal lengths, the lens was not what one would call fast.
However, I decided that this did not matter to me. I figured that I would be mainly shooting outside and that I would not be wanting to have a shallow depth of field. While this turned out to be correct I did end up shooting frequently in churches. The Vibration Reduction (VR) system provides up to four stops of stabilisation, ensuring crisp images even at slower shutter speeds. This feature is particularly valuable when shooting handheld, as it compensates for camera shake and allows for greater flexibility in various shooting conditions.
With the combination of image stabilisation and high ISO capability, I never found myself in a situation where I could not get the image I wanted.
Closeup view of column shot from same spot
Wide view of column
Great for small animals such as this lizard
Autofocus performance
I can’t comment about the autofocus system of the lens as I did not try it against any fastmoving objects. It is supposed to perform well when you couple it with a camera that has fast focus (such as the Z8 or Z9). My Z6ii is not always the greatest at keeping focus.
Macro Capabilities
One of the standout features of this lens is its impressive macro capabilities. With a minimum focusing distance of just 0.5 metres at the 400 mm end, it allowed me to capture stunning close-up shots with remarkable detail. This versatility makes the lens an excellent choice for nature and macro photography enthusiasts.
Conclusion
The lens delivered everything that I was after in a single unit. When it was fully retracted the camera did not attract that much attention. When extended it allowed me to get detail when I wanted it. If you have a Nikon mirrorless camera and want a versatile lens, I wholeheartedly recommend the Nikkor Z 28400 mm zoom.
Coming Soon:
PSNZ National Interclub Competition 2025
We are excited to announce that alongside the SONY National Exhibition, PSNZ will once again host the PSNZ Interclub Competition, which is free to enter for all PSNZ-affiliated clubs.
Entries open: 9.00 am, 20 January 2025 and close: 5.00 pm, 22 February 2025
Naples church ceiling straight out of camera - shot at f8 1/100s ISO 16000
Image after Lightroom denoise
Photographing Humpback Whales
By Michael Parker
This story began four years ago when in 2020 we booked a trip with Whale Swim Adventures in Tonga – to swim with humpback whales. My wife and I are both avid photographers of animals in their natural environment, so this was a “nobrainer”. We were really looking forward to doing something really different. However, along came Covid which soon put a halt to everyone's plans.
After a couple of years of lockdowns and not being allowed to leave the neighbourhood, we were finally starting to think about going overseas again and picking up our wish to photograph and swim with whales. However, in January of 2022, an underwater volcano erupted in Tonga.
The Hunga-Tonga-Hunga-Ha’apai eruption in the Kermadec-Tonga Ridge was the largest recorded since the eruption of Krakatoa in 1883. The eruption triggered tsunami waves of up to 15 metres and ashfall covered an area of at least five square kilometers, impacting crops and water supplies. Tourism wasn’t going to be re-opening anytime soon.
In 2023 we were notified that Vava’u was sufficiently recovered and that the Whale Swim company was going to operate for that season. A booking mistake scheduled us at a time that we couldn't go and so our deposit had to be carried over for yet another year. 2024 was the year! We needed to do some serious planning.
Camera gear
We soon realised that our camera gear was going to enjoy being in salt water as much as a cat loves bubble baths. We were going to need underwater cameras or something more than a plastic bag to keep our equipment dry. We also acknowledged that neither of us was an expert in underwater photography, and this might be a one-off thing for us, so we didn't want to make a significant investment in underwater gear.
Underwater housings for your DSLR camera are very camera-specific and will cost you more than your camera and probably all your lenses as well. Luckily we found a few options that wouldn’t break the bank.
The cheapest option was going to be either a GoPro or Osmo Action4. The Osmo has a bigger sensor which means better quality. Both cameras are waterproof straight out of the box and will give you good images. However they are very wide angle which means you will get all of the action but need to be very close! I already had a GoPro8 and had some experience with the camera quality, so felt that it might be a good secondary option, but I needed something better for my main camera.
The next option we looked into was a housing for your phone that allows you to use the touchscreen under water. My wife, Jayne, chose to go with this option. She upgraded her phone to an iPhone 15 Pro which has a Pro camera system with wide, ultra-wide and telephoto lenses, and it can shoot in RAW. She bought a Divevolk Seatouch 4 housing.
It is very high quality, machined from aluminum with a gel film on the back that allows you to operate the touch screen under water. She was able to use a powerbank to keep the phone charged all day, and downloaded photos directly to a portable SSD on the boat. Lightroom has a much better capture tool than the iPhone camera app and Blackmagic has a great video app.
We did consider buying a point and shoot camera with a waterproof housing. These can be more expensive than the other two options and, although they will take great images, the downside for us is that you have another camera that you might not use very often.
I was really keen to use a DSLR so I kept an eye on eBay and Trade Me for camera housings for my Nikon D500, but most of them were well beyond my budget. I took a different approach and bought a used housing for a Nikon D7100. I knew I could pick up a D7100 quite reasonably, so bought the housing and waited until a cheap camera showed up on TradeMe. I modified the housing so that I could mount my GoPro on top of it for video.
Ideally you need a wide angle lens, 11-16 mm or 12-24 mm. I could only fit the 18-55 mm kit lens into the housing so was going to have to live with this.
Swimming with the humpbacks is snorkeling; diving is not allowed. We knew that we would be within a few metres of the surface; the waters in Tonga are bright and clear so we didn't need to invest in any underwater lighting equipment. The only other accessories that we bought were dome lenses. These come in two types – wet and dry. If you want to get those cool “half-in, half-out” of the water shots, you will need a dry dome to keep the water away from your lens. A wet lens helps to reduce the distortion you get when photographing underwater.
Before going
Practise! We both did quite a lot of practice before we went, as taking pictures under water is very different to taking them on land. Not only are you dealing with snorkeling gear, but your visibility is also reduced and you can't see where your camera buttons are or what they do. Additionally, you are continually being bobbed around by the swell.
Whenever the opportunity arose, I would take my camera for a swim to get a feel for settings and what you need to do to make a decent image. I have found that f8-11 and 1/100 to 1/200 shutter speed is best. I am a staunch manual photographer but soon accepted that I would need some form of auto setting as full manual shots take time, especially through a waterproof housing. I found that auto ISO and aperture priority both worked well.
Test your gear and check for leaks, even if it is brand new. Jayne’s dry dome leaked and we didn't know untll we got there. We were able to fix it with some superglue but it could have easily been solved if we knew before we left.
Getting the shot
There are normally eight people on the boat with one guide, and only four people and the guide are allowed in the water at a time. You are split into two groups and take turns. We were super lucky with our tour and there were only three of us, so we didn't need to take turns. Often the whales are moving, and you can't out-swim a whale, so this means intercepting them, and you will often only have minutes while the whales pass by.
You don't want to spook anything that's 18 metres long and weighs 35000 kg, so you need to enter the water quietly – this is difficult as you are trying to move quickly with fins and mask on; imagine emperor penguins jumping off an ice shelf – and fin out to the whales. You are not allowed to dive down to them or chase the calves as this can also spook them.
If you are lucky you will swim with a whale that is curious and happy to have people around. This will give you time to get in a good position. The best opportunities are when the whales are curious and come to you. We had some wonderful experiences with whales and calves that wanted to interact with us, and some encounters lasted from 45 minutes ro an hour.
Humpbacks have a lot of white on them and with the water being so clear and bright it was easy to take blown-out shots when they were upside down or the underside of their tails were in the shot.
Even when on the boat there are ample opportunities to take some great photos as the whales are often seen breaching and slapping the water. We found that getting a photo of a breaching whale was more difficult than the underwater photography, as they often breached when you either didn't have your camera ready or were facing the wrong way.
The best advice we were given was to stick with the guide. The make or break with whale photography is getting in the right position. You had to attempt to get the sun coming in from over your shoulder for the best lighting, and that wasn't easy. The guides are extremely experienced and are very good at predicting the whale movements so being close to them will keep you out of trouble and usually in the best position. If you have practised beforehand and have your camera settings sorted, it's just a matter of pressing the shutter.
With all wildlife photography you have to apply the “time and luck” rule. The more time you are out on the water the luckier you will be.
If you have the opportunity to go on a whale swimming adventure, try to join a tour that lasts more than a few days. In the first day or two your photos aren't going to be very good until you get the hang of it. We spent five consecutive days on the water and even they weren’t enough as our photos were getting better with every outing.
In the end you soon realise that taking a great photo becomes less important than being able to spend some time with these amazing creatures in their environment. I can't recommend doing this trip highly enough –not just a great photography adventure but a life-changing one as well.
Inside Kiwi Minds – My Winning Entry
By Rianna Kanji
For a while, I have had a great passion for photography. I was always interested in capturing “candids” of my friends whenever they looked unreal, or the moment was great. I found myself always having a phone in my hand, offering to take pictures, or taking them without them knowing, to capture the moment. I liked that it wasn't fake and that the pictures were genuine. I think this is where my passion for photography started. It inspired me to go further, I began to become interested in how to use a camera, and I became deeply inspired by other people's artworks.
Looking at other people's work online inspired me to enter the competition, as I thought it would be a great way for me to develop my passion for photography. I was also greatly inspired by the variety of different styles out there and wanted to try something new. Photography is a hobby for now, but I wish to make it into something more in the future, and I found that this competition would be a great way for me to challenge myself, make me think, and create new ideas to get me outside of my comfort zone.
As the theme for this year was Life In New Zealand, I wanted to be creative and use a different style than I often do to form an image. I wanted it to deeply relate to this theme in a unique way.
I had been inspired by the word “sonder” earlier in the year, always thinking about the deeper meaning behind it. The definition of sonder is “the realisation that each random passerby is living a life as vivid and complex as your own.”
Since it’s inception PSNZ has supported the National Secondary School Photographic Competition. This year’s overall winner was Rinna Kanji. In this article she takes us behind her winning image. The image is displayed as a double page spread so please ensure that you have your viewer set to show it at its best.
I had been deeply inspired by this quote, as after learning the meaning it made me think about life differently. It changed the way I thought about people when I was in public. I wondered what was going on inside people's minds. I personally have so much on my mind; I'm either overthinking something, I'm sad, or maybe I'm thinking of something happy. I go through a variety of emotions but I look “normal” on the outside. After learning this concept it made me think that I really don't know what other people are going through, and I began to become deeply interested. Everyone has their own life, and you are the side character in their story. You'll never truly know what other people are thinking, no matter how close you are to them.
When I learned that the theme was Life In New Zealand, I came up with a few ideas but I loved the idea of incorporating “sonder” in my final image. I found that it would be an amazing way to demonstrate the theme, as I would be able to share the feeling of wondering what was going on in other people's lives. What are people here feeling? Are they happy where they are at? Are they stressed? Are they waiting for somebody? Everybody's lives are entirely different, and we’ll never fully know what somebody is going through.
When crafting my image, I was inspired by a few artists online, mainly street photographers. I was inspired by people who photographed people, buildings, and photographers who edited their images with typography. I was inspired to make a collage as I found that this would be a strong way to present my idea.
emptiness. I found that the collage, monochrome and text all worked together strongly, helping
Garden Photography Workshop
by Nicola Lye LPSNZ, Sandy Odell LPSNZ, Chryseis Phillips and Sue Wagenaar LPSNZ
On the last weekend of November, two lush gardens in New Plymouth became the perfect backdrop for a gathering of shutterbugs eager to learn the nuances of garden photography. The garden photography workshop was facilitated by Jane Dove Juneau, a celebrated home and garden photographer renowned for her ability to capture the beauty of flora.
Jane's workshop provided participants with valuable insights into the delicate art of photographing gardens. The first day began with a short talk, during which Jane shared expert tips on framing plants and flowers, as well as how to tell a compelling story through photography. We learned about Jane’s background in photojournalism and her experience in photographing for NZ House and Garden, other publications, and promotional material for the garden festivals.
Jane gave us a presentation on what makes a good garden photograph.
The components were Spirit of Place, a Sense of Moment, Great Light, and Good Composition. She shared examples with her photos to illustrate the different points. Attendees were introduced to essential techniques for focusing on detail, composition, and lighting – skills crucial for capturing gardens at their most enchanting.
The Garden Workshop held in New Plymouth was such a popular event that four out of the nine participants wrote articles about the event. As they covered a lot of the same sujects we have combined them into a single article.
The second day offered participants the opportunity to put theory into practice. Surrounded by the stunning landscapes of Hurworth Country Garden, a private oasis owned by Graeme and Jan Worthington set around a 1910 villa.
The garden has numerous flower beds, a summerhouse, beautiful brick walls, and a fountain. Half of us started photographing the front part of the garden, while the other half started at the rear, in an endeavour (not always successful) to stay out of each other’s photos.
Jane and Graeme walked us through the garden and pointed out great photo opportunities, and Graeme gave us a brief history of the garden. We spent the next 2.5 hours getting lost in the wonderful garden, and our hosts had left morning tea for us to enjoy.
Jane Dove Juneau - Chyseis Phillips
John, looking for inspiration for his own yard - Chyseis Phillips
While there was some cloud cover, which made for good lighting conditions, there was a reasonable breeze, so we needed to make sure our shutter speed was high enough to stop any blur. We used a combination of hand-held shooting and using our tripods. I enjoyed using the tripod as I was more deliberate about the composition: what was included or excluded, whether a structure was in the photo, that I had the camera positioned to ensure the structure was upright and not tilted to one side or tipping backwards.
We had lunch together at a local cafe, Pikopiko Eatery, and then on to Tūpare Gardens, a public garden maintained by the Taranaki Regional Council. It is built around a 1930s arts & crafts style house. It is a steep walk down to the garden, and along the way there are beautiful views of the garden and buildings below. This garden has a lot of mature trees which would be stunning in autumn with the leaves turning colour, or in spring with the trees in blossom. We made the most of the water features, one giving a reflection of the house, and another surrounded by hostas, ferns and overhanging trees.
The group - Chryseis Philips
Nicola Lye
At the very bottom of the garden is a large area with multiple seating options for people who want to have picnics near the river.
Again, Jane walked us through the garden and showed us aspects that we could easily have missed.
The afternoon offered calmer conditions, but with less light, presenting a completely different set of challenges to work with. In both situations we received valuable instruction on how to adapt and overcome challenges, turning each scenario into a learning opportunity.
Once we had taken the photos we wanted, we could head for our accommodation or visit the Te Henui Cemetery, an incredible place in which to take photos with lots of older headstones, wrought iron fences, some with climbing roses winding their way around the iron. Everywhere you looked there were flowers and mature trees – six hectares to be precise! Volunteers help maintain the gardens and there are always plenty of people in the area, walking their dogs or, like us, photographing the area.
On the final day, we were able to see how Jane processes her photos and participants had the chance to showcase the photos they had taken, with Jane offering constructive feedback and advice on each image. At the end of the workshop, attendees felt more confident about photographing gardens and were eager to practise their new skills in their own backyards.
Tupare Gardens - Sue Wagenaar
Sandy Odell
Nicola Lye
What did the writers think of the
workshop?
Chryseis Phillips
For many, the weekend was an eye-opening experience – an opportunity to step outside their usual photographic practices and embrace the unique challenge of garden photography. For me, the small, intimate size of the workshop provided a chance to connect with fellow PSNZ members on a deeper level. We had more opportunities to chat, share stories, and truly get to know each other.
The result was a weekend full of creative exploration, growth, and, of course, stunning images of nature – along with new friendships and shared memories.
Nicola Lye
When we first met on Friday night, a few of us mentioned that we enjoy taking close-ups of flowers and wanted to learn how to capture the wider view of a garden. This workshop helped give us the knowledge and confidence to achieve that. I’m very happy with what I learnt and the images I was able to create, following the pointers that Jane gave us. I’m looking forward to being able to practise over the next few weeks at our local public gardens.
Worthington Garden, wedding venue - Sue Wagenaar
Sandy Odell
Sue Wagenaar
It was a memorable experience. Jane is not only a highly experienced and talented photographer but she is passionate about sharing her knowledge. She has an amazing eye for seeing and showing us photo opportunities that might have otherwise gone unnoticed.
The workshop was well structured with a perfect balance of instruction and hands-on shooting. Social time was not neglected with shared lunch and dinner on the agenda. Jane was always available to answer questions and offer guidance, and she ensured that everyone in the group felt supported.
By the end of the weekend I felt more confident in my ability and had a collection of photos that I was genuinely happy with. If you are looking to enhance your garden photography skills, while working with a professional, keep an eye out for this workshop in case it is offered again next year.
Sandy Odell
Tūpare Gardens is a magnificent place – it’s definitely one to keep going back to when visiting Taranaki. This is a magical place, and free to the public too. There is something here for people of all age groups to enjoy, whether it’s having a picnic and family time or wandering through the trees and winding paths which lead to the Waiwhakaiho River.
With Jane’s help, we managed to understand what she sees in these gardens, and “pretended” that our images were magazine material. It was great to see and learn new ways of doing landscape gardening, and it’s something I will continue to do.
Nicola and her Nikon - Chryseis Phillips
PSNZ Membership Benefits
Expert advice to help improve your photography.
The opportunity to achieve a higher Society distinction (LPSNZ, APSNZ, FPSNZ).
New Zealand members receive a complimentary copy of New Zealand Camera, and you can 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 show 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.
Painterly Landscapes - a Successful Workshop
Mark Burgess APSNZ reports
This workshop for 12 photographers was led by Peter Rees and based in Ohakune, National Park, over a weekend in September.
Peter Rees has a degree in fine art painting and successfully created large-scale works for galleries over many years in the United Kingdom. This has strongly influenced his approach to editing photos. He says, ‘It’s often more about light than subject matter for me. Dramatic lighting completely floats my boat, and has done from my earliest memory of the artists I followed back at university. Caravaggio, Turner, Rembrandt and Vermeer all used light in such an effective compositional, emotional and powerful way. The painting techniques and pictorial language I learned back then have been so influential in the way I see and process photographic images right now.
‘Thus the notion of “painterly” means literally drawing on the traditions established by the Masters to inform a unique approach to processing images where the flat raw images are the blank canvases. But with refined restraint: never creating an image that isn’t entirely authentic where its audience is never distracted by the techniques used to create it. Processing was taught in Lightroom, using its basic menu of global and local adjustments.’
Ian Walls FPSNZ
Jennifer Simone LPSNZ
Kate Anderson APSNZ
Jill Cliffe APSNZ
On Friday afternoon Peter set the scene and described the themes he wanted us to explore on the first location at Waitonga Falls. The objectives for the weekend were to create landscapes that explored pathways, layers and intimate images from the bush. These objectives were well harmonised by the weather which was exceptionally grey and foggy, with light rain most of the time –conditions that brought out our resilience and would demonstrate the adage that there are great images everywhere in any conditions. After a delicious meal in one of the local restaurants, we returned to the meeting room for an evening talk by Peter.
On Saturday we were up by 5.00 am and making our way to Whakapapa to do the Taranaki Falls loop track. This offered many landscape subjects: beech forest, numerous streams, open alpine tussock landscapes and the vigour of the falls. In the afternoon we returned to the meeting room to process our images with one-on-one input from Peter.
Sunday was another early start, timed for sunrise at Turoa where the skies were relatively clear for the first time. Following this we met to share images and benefit from more input and critique from Peter.
The group were highly motivated and enthused by the weekend. Shelley Wood LPSNZ wrote, ‘Pete, Thank you for your time and humour. Your photography and art skills are truly remarkable, and the way you share your knowledge makes learning so enjoyable. You have a unique talent for capturing not just images, but emotions, and your passion for teaching inspires everyone around you. Some great laughs were had and new friends made. Thanks PSNZ, and everyone involved.’
Rosalie Adlam
Jenny Corban
Tom Wilkinson APSNZ
Mark Burgess APSNZ.jpg
Shelley Wood LPSNZ
Mother Nature in all Her Glory
Kathy Richards FPSNZ explains
After achieving my Associate Honours in 2021, I started planning my Fellowship application.
I began with some self reflection. I felt that to be a meaningful body of work, it needed to say something about me, as a person and a photographer.
I’ve always loved the beauty of nature, and more recently, I’ve developed an appreciation of the beauty of imperfections in nature. An odd shaped petal, a different coloured leaf, a natural heart shaped pattern on the bark of a tree. I like to photograph the beauty of imperfection, and highlight anthropomorphic traits of plants. As I walk through a garden, the plants that emulate human traits catch my eye.
Generally, I gravitate towards a macro lens, because shooting close up draws attention to small objects that are often overlooked. A shallow depth of field is often a useful tool for me too, because the narrow focal plane draws attention to the feature I am trying to highlight, and I also like the effect of the out of focus areas and bokeh.
Writing my artist statement was difficult. Explaining my intent in a limited number of words took a long time to get right.
I made lists of ideas to shoot, but mainly I just kept my eyes open and my camera close by. I shot throughout the year, in different seasons, light, locations and weather. Enough to create an adequate number of images to pick a cohesive set from.
My first attempt was in 2022 and the feedback from the Board taught me a lot of things.
• My concept seemed to be understood and acceptable, which was a great start.
• My titles, with a person’s name, and then the highlighted trait also seemed to be okay.
• Some of my images' messages were not obvious to the Board. They could not see the trait described in the title. For example, on the day that my Mum died, I photographed a rose covered in rain drops. I called it Grieving Widow, and to me, there was nothing more obvious. But that was because I had emotion attached to it. Feedback from the Board said that my images needed to more obviously show the characteristics described in the titles. So, to show grief with a rose, it should have been drooping over, with missing petals, a little beaten by the elements etc.
• The flow between my digital images was not great. I tried to match an element with each transition, sometimes a shape, sometimes a colour etc.
The Board said that some of the transitions were too jarring, light to dark, bright to muted, very close up to further away etc. To achieve better flow, I needed to build a larger collection of images, so I could find the right ones to work together. This sometimes meant losing a favourite image, but it was necessary to create a cohesive set.
My second attempt in 2023 was more refined. I took into account the feedback and advice given by the Honours Board and I applied the lessons I learned. I checked my images against my statement to make sure I was staying within its confines. I used my daughter as an independent sounding board, with no emotional connections to any specific images, to make sure each chosen image was clear and coherent.
I checked that each image flowed to the next without any unharmonious disparities, and I also limited my colour palette to help with this. Sometimes I needed to adjust the temperature of an image, with camera raw in photoshop, in order to match the other images better. I had a collection of about fifty images, and only three of the final eighteen were from my first attempt.
I very much enjoyed the challenge of the PSNZ Honours, and was very grateful for all the feedback and advice provided by the Honours Board, especially Paul Bryne FPSNZ.
Artist's Statement
For a while afterwards, I felt a bit rudderless, with no new photographic challenges. But then, at the end of 2023, I travelled to South East Asia and found a whole new world to photograph. That’s one thing I love about photography; there are endless subjects, techniques and stories to be told.
When I started taking photographs, I worked in childcare. I saw beauty in the perfect, fresh faces of the babies and children that I cared for. I also saw no reason to photograph any flower other than a newly opened, perfectly formed bloom.
I have since worked with equally beautiful, elderly and disabled people. I learned that there is beauty in all people, especially in the things that make us unique. The things that say something about us as people and help to tell our stories.
Now, I embrace and capture all of nature, in all its detail and during all its stages. Just like when I meet people, I don’t search for perfection, I search for character. Often, the trait displayed in the photograph reminds me of a person I have known.
Here, I present a collection of intimate botanical portraits.
Each represents, literally or metaphorically, a characteristic that I consider more authentic, and more beautiful, than appearance.
Save the Dates
2025 Honours submissions
Open 16 January 2025
Close 28 February 2025 at 5.00 pm
Lila - Heart of Gold
Liz - Aged Queen
Ned - Flamboyant
Jessie - Inked
Yindi - Scarified With Her Story
Kerry - Flying the Pride Flag
Brian - Genius
Colin - Dying
Shirley - Young at Heart
Rachel - Hospitable
Brad - Protective
Phoenix - Reinventing
Ben - Craves the Spotlight
Harper - Fragile
The Robinsons - Tight Knit
Country Markets in New Zealand
By Lei Gao
After living in New Zealand for so many years, besides enjoying the beautiful natural scenery, one activity I particularly love is visiting the weekend country markets.
On the third Saturday morning of every month, there is a large market in a rural area about ten kilometres from my home. It’s large compared to other markets I've been to in New Zealand, though maybe only onefiftieth the size of the Licun market I used to visit in Qingdao when I was a child. When you consider how China's population is many times larger than New Zealand's, it becomes easier to understand.
The scale of this market feels very relaxed and laid-back, and strolling through it never feels exhausting.
At the country market, you can not only buy fresh organic produce and handmade crafts from local artists but also experience New Zealand’s slow-paced rural life.
In search of the award-winning image, we often ignore the simple recording of life around us. Not all portfolios need to be on grandiose subjects. In this article Leila shows how she combines words and images to express what she finds attractive in New Zealand. Over the summer, why not try this yourself and document some of the simpler aspects of what is around us.
This elderly lady from a farm makes various jams from her own organic fruit. Besides jams, she also sells different pickles made from the organic vegetables she grows herself. The old lady thoughtfully prepared some crackers for sampling before purchase.
Before Easter, there were beautifully themed desserts. They looked very sweet, so I was content just to admire them.
A weekend country market
A grandfather from the farm brought these giant avocados, each costing less than ten RMB (Renminbi).
I remember ten years ago in China, when Timmy started on solid foods, I bought two avocados at the supermarket for fifty RMB.
There are all kinds of flowers and plants, and the stall owners are enthusiastic about sharing growing tips. A few cute green plants on the kitchen windowsill can brighten up your cooking mood.
Feeling tired from walking around? You can eat and drink right at the market:
This Thai food stall has been around for many years, run by an elderly couple. The wife is Thai, and the husband appears to be a New Zealander. Besides this market, they also attend others. I always buy Thai fried noodles from them, but they only accept cash, no cards.
In 2020, during my late pregnancy, I once bought food here but didn’t have cash, and the wife told me to pay next time. However, after returning home the lockdown happened, and then I had my third child and stayed home for postpartum care. It took several months before I could return to the market and pay them. The wife was very kind and kept saying it was okay.
Besides Thai food, the market has many other delicious options.
These wooden handcrafts sell for a very high price in New Zealand, with a small wooden box costing hundreds of RMB. This also reflects the recognition of craftsmanship and artisan labour in New Zealand.
You can also find a variety of second-hand books.
And metal utensils too.
I love coming here for tea, where the servers are elderly volunteer ladies, and the pastries are all homemade.
They keep the kitchen very clean and even decorate the tables with beautiful fresh flowers.
My conclusion? If you come to New Zealand, don’t miss the weekend country markets. They are great places to experience local rural life in New Zealand!
Congratulations to Karen Moffatt-Mcleod APSNZ BPSA, winner of the Canon Online round 7 for 2024. There were 91 entries in this round.
About Karen...
I'm a creative portrait photographer based in Whitianga. My passion is portrait and in particular creative portraits. I am also drawn more to monochrome and darker, moodier images, but do play around with colour too. I like my images to tell a story so viewers are engaged with the image.
About Karen’s winning image
I think Geoff hit the nail on the head with his interpretation of my image. Fitting In is about the pressure on young people, particularly young women, to “fit in” when they should be encouraged to be uniquely themselves. The negative space on the right depicts the space left vacant by this girl trying to comply with how she thinks she should be. The hands are society and her peers trying to mould her into something else.
The mono choice is a preference of mine for portraits as it shows the subject by removing the distraction of colour. Big thanks to my model and her mother for making this possible.
The judge for this round was Geoff Beales APSNZ.
An introduction to Geoff: I’ve had a lifelong passion for photography, which grew from the challenge the medium presented to successfully compress real life onto a 35 mm frame.
How to capture panoramic landscapes and moving birds were the key things which excited and challenged me in my 20s, and I’ve continued to pursue those goals ever since. I particularly enjoy creative, landscape, and nature photography.
I’ve been an accredited member of the PSNZ Judging Panel since 1995 for open photography, and since 2007 for nature.
My strong interest in bird photography led me to volunteer on Tiritiri Matangi Island, where I occasionally still guide and assist with kokako monitoring. Regularly observing some of our rarest birds through the lens has rewarded me with many opportunities to witness behaviours new to me and has enhanced my understanding and appreciation for our endemic birds.
Judge’s comments
It has been a pleasure to view and assess the 91 images submitted for Canon Online round 7. I enjoyed the great variety of images offered for consideration and, as you might expect, selecting my favourites was challenging. This should be heartening for those not in the top 10 as there were a good number close to making my cut. It’s always an honour and a privilege to see what other people are doing with their imagination and imagery, and I thank you for the invitation and opportunity to view and assess your work.
I think we can all relate to the uncertainty of youth and the desire to fit in. In this image that sense of not being sure how to blend in, or which face to wear, is strikingly portrayed. The monochrome presentation and facial deconstruction lend this image a piccaso-esque feel which I really enjoy.
2nd The Wanderings of Indecision - Julia Rae APSNZ
This many-layered “Alice in Wonderland” composite image tells a strong story about indecision. I see the chequer-board pattern as implying decisions about which direction to go in and the destination of White Rabbit’s pocket watch suggesting the difficulties in prioritising one’s choices using available time. It is all styled with the use of a character very reminiscent of Alice meandering through the Queen’s rose garden and is very cleverly thought out and well composed.
1st Fitting In - Karen Moffatt-Mcleod APSNZ
3rd Somewhat Camouflaged - Robert
Beckett LPSNZ
It takes a moment to hone in on the young person camouflaged in this image by the well-chosen monochrome treatment which enhances the blending of the clothing with the graffiti. This sense of camouflage is enhanced by the eye being initially drawn to the bold white “Masa” graffiti and away from the doorway. This strongly graphic image is instantly captivating and holds my interest as I explore it more deeply.
5th Seven Chairs - Nicole Tai LPSNZ
This image has been beautifully constructed and focuses on the contrast of light and shadow. The dynamic placement of the sculpted line of chairs in the frame draws me through to the pool of light on the floor which in turn transfers my attention to the repetition of the shadows and completes the cycle. My view is tightly contained by the negative space of the shadows around this simple subject
4th Dawn, Flinders Ranges - Bob Pullein
The still and calm of this image provides a strong sense of a new beginning. Its beautiful transition from purple to orange has a duotone effect and the stark simplicity of the tree skeletons adds to the minimalism of this image which provides an overall impression of breathtaking simplicity.
6th Jump Start - Paul Donegan
The casual way these three are hitching an uphill ride on the back of the truck, with one of them even taking a one-handed phone call, is a startling commentary about the risks to life taken so lightly. The monochrome treatment really suits this PJ subject and speaks loudly of the struggle to live and the precarious normality of life in this culture.
7th Mixing it Up to Settle the Baby - Jo Curtis APSNZ
The graphic nature of this triptych stands in stark contrast to the human story at the heart of the image. The black, white and wood tones of the image and the clever structuring of the three elements, with all lines interfacing and connecting, beautifully anchor the scene. The routine parental walk to soothe and calm the baby ties it all together.
8th Ara Windows - Dave Hart
The monochrome treatment combined with acute and strong cross-lighting both contribute to enhancing the textures in this image. The symmetry of vertical and horizontal lines contrasts particularly well with the dynamic lines of the shadows. We can just see enough through the windows to give a subtle hint of what’s beyond. I’m impressed by the strong significance of the small element in the top right, casting a major diagonal shadow which strongly unifies the composition.
9th Mt
at Sunrise - Janice Chen APSNZ
The serenity of this image, combined with its symmetry, gives it a strong sense of calmness and peace. The simple palate of oranges and blues makes for a very harmonious and pleasing landscape.
10th Orangemen - Simon Bradbury
The smiles on the faces of these three, along with their common uniforms, tell me that they know each other and are sharing stories during a relaxed work break. The contrast provided by the unexpected grandness of a hewn wood lovers-style chaise longue makes this image all the more special. There’s a real sense of shared camaraderie here in a perfectly captured PJ moment, and I smile with them as I wonder what they’re sharing.
Taranaki
On behalf of Lindsey Stockbridge LPSNZ and myself I would like to wish you all a Merry Christmas and a Happy New Year. If you are travelling over the holiday period, please stay safe and enjoy time with family. Remember – the best images are those that record happy times and emotions and don’t need to be capable of winning exhibitions.
