NZ CameraTalk To p r o m o t e t h e w i d e r e n j o y m e n t o f p h o t o g r a p h y
T H E O F F I C I A L M A G A Z I N E O F T H E P H OT O G R A P H I C S O C I E T Y O F N E W Z E A L A N D I N C
Fe b r u a r y / M a r c h 2 0 2 1
In this issue PRESIDENT Moira Blincoe LPSNZ t. 027 473 3038 e: president@photography.org.nz
VICE-PRESIDENT
Karen Lawton t. 021 143 7764 e. vicepresident@photography.org.nz
TREASURER Mark Lawson PO Box 462 Timaru e. treasurer@photography.org.nz
WELCOME TO THE first edition of CameraTalk for 2021. We hope that eveyone had a pleasant holiday break and that 2021 will be a good year for you. In addition to our regular articles, our special feature covers Pet Photography, which had been asked for by a number of members. We also show the overall results of the 2020 Canon Online competition and learn a little about the winner. And, just in time for those finalising their honours applications, we have a very informative article from Paul Willyams APSNZ on how to get that elusive “A” level honours.
SECRETARY Patrice Nilsen 8 Raroa Terrace, Tawa, Wellington 5028 t. 04 232 1565 e. secretary@photography.org.nz
Paul Whitham LPSNZ Editor
Key Dates for the Diary
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Honours Information
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Paul Whitham LPSNZ PSNZ Councillor t. m. 021 644 418 e. paul@pwfotos.com
Editorial
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Important FIAP News
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SUBEDITOR
2020 Canon Online Winner
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PSNZ Workshops 2021
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Convention News
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2021 Judge Training Special Feature: Pet Photography That Elusive “A” - an Applicant’s Perspective
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Regional Convention News
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Whanganui Salon
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AV News
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Trenna Packer Salver
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Canon Online Results (round 6)
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FIAP Collection Additions
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New Members
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EDITOR, ADVERTISING & LAYOUT
Lindsay Stockbridge LPSNZ 14 Poynter Place, Whanganui 4501 t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz
CAMERATALK DEADLINE
The next CameraTalk deadline is 1April 2021 Email your contributions to the SubEditor at his email address. 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.
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On the cover Wedding Rings on the Bowtie. Taken by Sandra McCoy APSNZ, featuring her son’s dog Barney and presented to his bride on their wedding day.
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HAPPY NEW YEAR to you all. I trust that you had a good break and managed to recharge the batteries for a new year. A year that we do hope the world and health professionals can get on top of this awful virus and allow our lives to return to a new, stable normal. It was great to have a little break, and Chris and I managed to get down to parts of the country we had never seen before and to catch up with some fellow PSNZ friends in Otaki, Waikanae and Greytown. Driving through the Wairarapa, Manawatu and other regions just reinforced what a beautiful country we live in and how fortunate we are to have the freedom to explore and enjoy it. February’s arrival signals the beginning of a hectic time for Council and PSNZ with many activities opening ‘for business’. Submissions for PSNZ Honours awards opened in mid-January. If you are intending to make a submission, you should now be applying the finishing touches. Remember that all entries must be with Stephanie Forrester, Honours Board secretary, by 5.00pm on 28 February. Please don’t leave mailing or couriering to the last minute – New Zealand Post only delivers three days a week to most regions. Submissions for the PSNZ SONY National Exhibition opened on 1 February and I am looking forward to seeing the variety of images submitted, especially given that we have all been ‘home-bound’ for the better part of 12 months.
A Note from the President Registrations opened for the 2021 National Convention:Vision-21 - The Art of Seeing on 17 January and already we have nearly 180 (at time of writing) delegates registered. The organising committee has continued to work really hard to ensure that the Christchurch convention will be equally as fantastic as what 2020 should have been. It is unfortunate that our international speakers can’t join us, but we’re delighted that our friend and Adobe guru, Julieanne Kost, still wanted to participate and is excited to make a virtual presentation from the States. The line-up of New Zealand photographers and presenters is excellent. I know there will be many opportunities for all to experience and to enhance one’s skills. If you are one that may be ‘sitting on the fence’, I encourage you to visit the convention website to learn more about the event, and make an effort to support this convention and enjoy the comradery of fellow photographers. (continued overleaf)
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The 2021 Workshop Series kicks off on 27 March with a master class Macro workshop with Matt Leamy in Whakatane. Two additional workshops have been added for 2021, bringing the total to eight. I know many members have already earmarked which workshop they wish to attend and I hope that other members will take advantage of extending their skills through these events as well. As we draw nearer to the convention and the Annual General Meeting, to some readers I will probably sound like a broken record once more, but it is important to reiterate to you the importance of having members step up for Council and other off-Council roles. I have been a member of Council for almost 11 years and I step down as President on Sunday 18 April. I was invited to first join Council by Shona Jaray APSNZ in her capacity as Vice-President but about to become President. I had no idea what I was getting into, apart from the fact that Shona felt Council needed a member to be dedicated to publicity and marketing. With 25+ years of public relations and marketing under my belt, I was pretty excited and honoured to be invited to join Council. I can’t deny though that I was daunted in my first 12-18 months as I got to grips with the makeup of the Society and the work required. While I knew my professional skills were required and valued, I quickly learned that being a volunteer on such a unique Council could be fraught with highs and lows as we all dealt with an organisation that relied purely on volunteers. We respect that people operate differently and everyone has a different view of time, availability and commitment. As I have expressed in previous messages, it takes a certain type to be able to commit and deliver services to others, in a non-paid capacity. As a Council member I am one of many who bring a myriad of professional skills and experience to the table and thus we rely on each and every one of us to act in 4
the best interests of the organisation, to act professionally but also with integrity, respect and kindness. The bottom line is we are all contributing to something we feel deeply passionate about and want to make the Society a better organisation for our subscribing members and not forgetting our sponsors and trade partners. While the work is rewarding in many ways, I cannot deny though that it is relentless. As the Society has grown and we have expanded the programmes and services we deliver, we have also had to keep abreast of the changes in technology and make more investments in digital platforms and the way we offer our programmes. For many of our longstanding members, I’m sure you will agree that the Society has gone from strength to strength through these decades, and each Council and President has tried to do the best that they can in growing the Society as well as offering services and opportunities to help photographers grow. At the end of the day, that is our vision and that has been at the forefront of my mind, in everything Council has implemented while I have held the reins.
Key Dates for the Diary February 1 February 25 February 28 March 1 March 1 March 1 March 27 March 31 April 15-18 April 23-25 April 25 May 1 May 15 May 21 May 25 June 1 June 9 June 11-12 June 12-13 June 18
Entries for Sony National Exhibition open Canon Online Round 1 closes Honours Submissions close Entries for Sony National Exhibition close Entries for Interclub competitions close Submissions for 2021 New Zealand Camera open Macro workshop with Mark Leamy Submissions for 2021 New Zealand Camera close National Convention Christchurch Landscape workshop with Graham Dainty Canon Online Round 2 closes Entries for Trenna Packer Salver Competition open Creative Photography workshop with Judy Stokes Entries for Tauranga AV Salon open Canon Online Round 3 closes North Shore Salon opens Entries for Tauranga AV Salon close Astro workshop with Leith Robertson Judge Training Auckland Entries for Trenna Packer Salver Competition close
I may not have got it right all the time and we can’t please every one of our 1240 members. At all times during my tenure as a Councillor and as President, I have tried to bring my professionalism and personal values to the table, and it has been a privilege to be your President. I am, and will remain, passionate and committed to the Society and still be actively involved. At the upcoming Annual General Meeting there will be a few changes on Council as sadly some Councillors will retire. We have been functioning with less than an ideal number of Councillors for the last few years, which means more pressure and greater workloads for the current Council. Therefore the opportunity still exists for those of you who have the necessary skills and wish to give back to the Society to stand for nomination.
As always, I am more than happy to have a conversation with any member who may have an interest in joining Council or being on a sub-committee. In closing, and this being my ‘penultimate President’s message’, I am looking forward to completing the many tasks still on my ‘to do’ list prior to the Christchurch National Convention. I look forward to seeing you there.
Warmest wishes, Moira Blincoe LPSNZ
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Nominations are called for the election of Officers and Councillors of the Society for the 2021/2022 term of office.
The elected Officers and Councillors of the Society are: • President • Vice-President • Councillors – up to a maximum of eight (8)
Click here to access the Nomination Form for the upcoming term, which includes further details. It is preferable that nominations are returned by email to psnzsecretary@xtra.co.nz If required, hard copies can be posted by mail to 88 Realm Drive, Paraparaumu 5032. If you are sending by NZ Post, please ensure that you send these early to arrive prior to the closing date. Note the form fields can be filled in directly if using Adobe Acrobat or pdf readers, and returned with relevant attachments. Please ensure your nominations are returned by the due date to the Secretary, with all signatures and attachments/synopsis as requested. Nominations must be received by the Secretary no later than 5.00pm on Saturday 20th March 2021.
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Important information for Honours Applicants by Stephanie Forrester APSNZ
HONOURS SUBMISSIONS ARE beginning to appear in my inbox. Some forms are missing information, mainly complete addresses and club and PSNZ membership. The box highlighted in the screen shot of the form below asks for all boxes that apply to be ticked and a club name inserted. Many thanks for your co-operation.
Remember, submissions for 2021 Honours must be received by the secretary by 5pm on 28 February 2021. As Stephanie lives in Invercargill, make sure that you courier your prints in plenty of time. 7
Editorial: On the Edge of a Crisis By Paul Whitham LPSNZ
LATE IN 2020 my wife and I attended the Heretaunga Rotary Club’s 50th anniversary dinner. I was President of the club in 2007/8 and while I left the club 10 years ago my wife continued to be involved with their Bookfest fundraiser. In 2019 this raised $70,000 for the community. The actual birthdate was in April but like so many things in 2020 it was postponed due to COVID-19. What should have been a celebration ended up taking the form of a wake as the club decided that it was not going to continue into 2021. The club could not find a president or sufficient committee to lead them. The 2020 President had already served two terms, which was longer than the normal single term, and had no desire to continue. At the root of this problem was the fact that the club (and Rotary as a whole) was not attracting younger members willing to step up. Furthermore, the club was split into two groups, namely a small group of workers and a larger group of people who were happy to crow about what the club was doing, but did not actually contribute a lot to the activities. The workers finally said that they had had enough. So, how is this relevant to PSNZ? Many readers will know that camera clubs around the country are suffering from similar issues when trying to attract people to their management committees. As a result, existing members are staying in roles past the point where they are fully motivated, and burnout is common.
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While the overall membership of PSNZ has stayed constant in recent years, the PSNZ Council itself has shrunk in numbers. I am not sure when an election was held for any position on Council, but it is certainly has not been in the last six years. Furthermore, retiring Councillors have not been replaced, purely because of members being unwilling to make the commitment, or not having the right skills. The net result is that the workload on existing Councillors has increased considerably. In spite of this the PSNZ Council has increased the services and opportunities to members, such as the very successful Workshop Series. President Moira has made repeated pleas for people to come forward, but these have largely been ignored. What makes it worse is that many of the people who have been quick to complain about what is being offered, or recommended changes, are extremely slow in coming forward to help.
At the September 2020 Council meeting there was a serious discussion about the future of the organisation, as Moira had already served a year longer than previous Presidents. While a candidate has come forward to be nominated as President, the Council is still likely to be understaffed, and that is not a sustainable position.
So, if you like what PSNZ has to offer, and feel you have the skills and time to contribute, please consider standing for Council. Any of the current Councillors will be happy to talk with you about what is needed and what is involved in a Council role.
Important FIAP Distinction News by Ann Bastion FPSNZ EFIAP MFIAP
DUE TO THE many problems with postal services around the world, caused by COVID-19, FIAP has made the following decisions that ONLY apply to distinctions applications lodged in 2021: For AFIAP and EFIAP Distinctions, there will be no requirement for acceptances in “print” salons. This temporary measure relates to rules 2.2.d and 3.2.d of the FIAP Distinctions Document 011/2016. So, if you are hanging out for that elusive last print, or need more prints, this would be the year to apply for your distinctions. Sometime in July 2021, I will be calling for anyone considering applying for FIAP distinctions to register their intent with me. I can then give you the correct forms and information. If you wish to know how the FIAP distinctions system works, go to the PSNZ website and under the ‘Honours’ tab scroll down to the ‘FIAP Distinctions’ tab and all the information you need is there. If you have any questions contact me: ajbastion@gmail.com
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PSNZ Canon Online 2020 By Paul Willyams APSNZ AFIAP MNZIPP PSNZ Canon Online Coordinator
Photo by Liam Clayton
Julia Rae (nee de Cleene) is the winner of the 2020 PSNZ Canon Online Photographer of the Year with some beautiful and imaginative composites, being selected four times in the Top Ten. Winners of each round were: Round 1
Sheree Anderton
Round 2
Kurien Koshy Yohannan
Round 3
Karen Moffatt-McLeod LPSNZ
Round 4
Allysa Carberry LPSNZ
Round 5
Bryan Lay Yee
Round 6
Val Burns LPSNZ
This was a very good year for Canon Online, with entries up 37% on the previous year. The lockdowns appear to have helped, but even Round 6 had almost double the number of entries. There were 269 photographers submitting 754 entries; of those 48 earned a Top Ten placing during the year. 10
There was great competition during the year, with the final award going to the photographer with the most consistent placings. Several photographers were in the running for top place right up to the final round. Julia Rae LPSNZ Deborah Martin LPSNZ Peter Rodgers LPSNZ Bryan Lay Yee Marie Bilodeau LPSNZ Derek Teague Karl Tretheway LPSNZ
Total Points 27 23 21 20 20 18 18
Top Ten Placings Four Three Two Two Two Two Three
I have the privilege of checking the images before they go to the judge and I can tell you that the general standard is very high. My feeling is that 30% of the images would be in the running for a Top Ten placing on first viewing. My thanks go to the judges for making the hard calls for a Top Ten. Congratulations and thanks to all entrants for making this a successful competition. Entries for 2021 are open now!
How Julia describes her work In an article written by Mark Peters for the Gisborne Herald Julia describes her approach. “You think of an idea, then you put it together as a composite work.” “If I see a landscape I’ll think about it because I can use the landscape for something else. I’m purposely looking at things or textures like a concrete wall or corrugated iron.” “I aim for a surreal character in my work. I look for unexpected things in unexpected places. There is one image of me on the beach with my bedroom door and me looking through the door. It’s like it becomes an ‘are you inside or are you outside’ enigma.” “I’m reading all these books,” says De Cleene of the figure in Ascent of Imagination.” “It’s letting reading take you into another world. The more we read, the more the mind is opened.”
You can read the full article at http://www.gisborneherald.co.nz/frontpage-featured/20210120/ world-of-wonder/ 11
Julia’s successful images.
Caged by Covid (Round 2: 10th place)
Ascent of Imagination (Round 3: 2nd place)
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Wrapped in My Bubble (Round 4: 3rd place)
Time Travel (Round 5: 8th place)
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Round Winners
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GET OFF ME it’s Mine! – Sheree Anderton
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Teller of Fortunes - Karen Moffatt-McLeod LPSNZ
New Zealand Fantail - Kurien Koshy Yohannan
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It’s Mine - Allysa Carberry LPSNZ
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Cookie Time – Bryan Lay Yee
Reflecting and Thinking – Val Burns LPSNZ
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2021 - PSNZ PSNZ 2021 Workshop Series WORKSHOP SERIES THIS YEAR’S WORKSHOP series is close to opening for registrations. As mentioned in the previous issue of CameraTalk, registrations were due to open in late January. To avoid overlapping THE HIGHLY SUCCESSFUL with the National Convention registrations and to help iron out a few last-minute details, we PSNZ WORKSHOP have had to delay the registration date for SERIES just a few days. IS The BACK! new date for registrations is …
Friday 12 February
Exclusive to PSNZ members, our specialized and topic-based workshops are held in various locations throughout the country. This is a hands-on, fun and inspirational opportunity to hone your You will be able to sign up for one of the first four workshops, and also add your name to skills with a leading expert to direct you. waiting lists for the other three. To give the maximum number of people an opportunity to
attend at least one, these waiting lists will be held until a month from the workshop, when any available spaces will be opened up to those on the list. The workshop details can be found here; log in to the member’s area for the registration form. As mentioned you will have to use PayPal to sign up for the workshops – you don’t need MACRObefore, PHOTOGRAPHY - Whakatane (March) an account, you just need a credit or debit card. If you need to cancel, you will receive a full AUTUMN LANDSCAPES Alexandra refund for cancellations more than one -month from the(April) workshop start date. After this point yourCREATIVE refund will be PHOTOGRAPHY subject to us filling your -place from the waiting list. Please note that should Hokitika (May) the country regress back through COVID lockdown levels, we may need to amend or cancel ASTROPHOTOGRAPHY Horopito (June)a full refund of your registration workshops at short notice. In this case- you would receive costs, regardless of how close to the workshop date. - Invercargill (July) PORTRAITURE / DANCE / STROBES
LANDSCAPE Coromandel (August) If you have enjoyed the PHOTOGRAPHY Workshop Series events-and are keen to see them continue, or you have ideas for other activities PSNZ could provide to help photographers grow, we need your help! BIRD PHOTOGRAPHY - Cape Kidnappers (October) Please consider standing for Council at the convention in April! Use the contact form on the BIRD PHOTOGRAPHY - Kaikoura (October) PSNZ website if this sounds like something you would like to be involved with.
FOR MORE INFORMATION: photography.org.nz/events-and-publications/psnz-workshop-series/ TO JOIN PSNZ: photography.org.nz
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Registrations are now open!
Registrations for the 2021annual PSNZ National Convention are now open. Don’t miss out on your chance to experience Otautahi from behind the lens. Be inspired and discover what truly drives you to capture the world with exciting workshops, field trips, and guest speakers.. Vision-21will be an exciting event for photographers of all levels. Whether you are a seasoned professional photographer or you just picked up your first DSLR camera this year. For more information and to register visit www.vision21.org.nz
Can’t come for the whole Convention? Consider day ticket or individual speaker only options to experience Vision-21. 18
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Pricing Pricing has been held at the same price that was planned for the 2020 Convention and are as follows: PSNZ Member Full registration including Banquet:
$405
PSNZ Member Full registration without Banquet:
$335
Banquet Only:
$110
Partner Ticket:
$225
Day Tickets:
$120
Individual Speaker Tickets:
$20
Field Trip Pricing Akaroa and Banks Peninsula:
$150
Castle Hill and Arthurs Pass:
$100
Judge Training Weekends for 2021 By Shona Jaray APSNZ
THREE JUDGE TRAINING weekends will be held in 2021. These are: Auckland 12-13 June 2021 at The Centre Franklin Room, Franklin, Pukekohe Taupo 28-29 August 2021 – venue to be confirmed Dunedin 30-31 October – venue to be confirmed We ask for a minimum of 20 people attending with a maximum of 30. Running this programme is a cost to PSNZ. From 2021 there will be a fee of $25 for attending the full weekend workshop. This must be paid in advance and will secure your registration but is non-refundable in the event that you decide not to attend. The cost for non PSNZ members remains at $60. To register for one of the training weekends, please go to https://photography.org.nz/salonsgalleries/judge-training-weekend-registration/ and fill in the registration form.
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Special Feature: Pet Photography IN THIS ISSUE’S Special Feature we are looking at pet photography. When we surveyed members of the PSNZ Facebook group, this was the second highest category requested. We covered the most popular category in the last issue. Rather than coming from a single contributor, this article incorporates content from online articles written by Judit Ruiz Ricart (Editor of the Wix Photography Blog) with additional content by the editor. Simplistically, pet photography is capturing animals which have been domesticated, however it is much more complicated than that. Pets become intricate parts of people’s families and we need to approach the photography of them in exactly the same way as we would any other family member. There is an old Hollywood saying that you should never work with children or animals. It is based on the fact that in many ways they can both be as uncooperative as each other. In fact there is a complete crossover set of skills between capturing pets and children. For the purpose of this article I have defined pet photography as falling into three different types: posed, candid and action. Posed images are completely staged and you will generally be trying to gain the full attention of the pet which will be fully aware of your presence. In candid images, the pet is being recorded doing its normal activities and may not be aware that you are photographing it. Finally, in action images the pet is actually doing something. The article is also written from the viewpoint that we are dealing with a planned shoot, rather than images grabbed when your pet is doing something cute. Having said that, many of the tips contained within it apply in both circumstances. Image by Anita Ruggle-Lussy
Well before you shoot
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Know your gear
As with other aspects of photography, the more familiar you are with your gear the better the results that you will achieve. Knowing how the camera handles certain lighting situations gives many more options to play with at the shoot. Most important is the ability to nail focus and exposure. As with portraits involving children or adults, pets’ eyes are the window to their soul and the key to a great photo. Having the eyes in focus is a must for any type of portrait but, like everything else, it becomes more complicated with pet photography.
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The main reason behind this is that your pet, just like children, will probably not stay still long enough for you to comfortably find the ideal focus. Modern mirrorless cameras are helping in this regard as many models now include animals in the ‘eye detect’ focus options. Furthermore, those adorably long snouts will also give you some trouble, as low apertures will leave either the nose or the eyes out of focus. Unless you’re purposely looking for this result, use a smaller aperture or shoot from the side to get both of them in focus. This involves a trade-off as the smaller aperture needs more light to maintain a reasonable shutter speed. That brings us to exposure. Choosing the right exposure is also extremely important, as you might have only one chance to nail that exact composition. Shooting in RAW can help you save some imperfect shots in post-processing, but you should not rely on it. Learn to doubt your camera’s meter, as it can be easily tricked by your pet’s coat colour. White animals tend to appear dull as the camera thinks the scene is too white, while black ones appear grey as the meter detects a darker composition. Use exposure compensation to make up for these metering flaws. Image by Paul Whitham LPSNZ
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Plan the shoot, but be realistic
Take some time to create a general guideline of the photo shoot beforehand. Focus on the emotions you want to evoke rather than on specific compositions. This will allow you to think about the expressions and mood you need to recreate without getting frustrated about not getting the exact image you pictured beforehand. Having said that, be realistic about the results you can achieve, as no two animals behave the same. Your own pug may have a completely different personality to the ones you have seen in other images. Pet photography can be unpredictable, as your model might simply not feel like giving you the shot you’re looking for. If that happens, allow yourself to move on and look for a different approach. You might be used to choosing a shooting session’s time and location based on light conditions or weather forecast. However, pet photography demands a whole new level of planning. In addition to taking light, weather and other regular factors into account, you will need to consider the needs and routines of each subject. Think about how their mood changes during the day and how that affects the pictures you want to capture. For example, dogs “smile” when they are tired so you might want to take them for a long walk beforehand. If you want to get adorable sleeping cat pictures, feed them right before you start shooting. 21
Your lens choice will totally depend on the type of images that you have planned. As with human faces, anything wider than 35mm will cause distortion up close. For candid or action shots longer lenses are best, as they enable the pet to engage in its activity at a distance.
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Know the animal
Obviously this is much harder if you are shooting someone else’s pet, but take time to watch how your pets behave. That way it will be much easier to read their body language and learn what each movement means. Understanding the difference between a dog’s and a cat’s tail wag will definitely come in handy during your photo shoots. This will also be useful in terms of learning what will motivate the pet to do what you want it to do in the photos. For example, some pets are motivated by praise, while others respond to treats, and some (cats particularly) will only do what they please. Also, if the animal has a favourite toy then you may be able to incorporate that in the image.
Image by Anita Ruggle-Lussy
Just like humans, every animal has its own unique personality. If you’re photographing someone else’s pet, be sure to ask about its character, and spend some time beforehand to see it for yourself.
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Just before you shoot
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Pay attention to the background
It can be easy to ignore a background scene when you have a lovely puppy playing in front of your camera. However, the background will stand out once you’re looking at a still image. Before you start taking pictures of pets, look out for elements you definitely want to keep away from your compositions. Examine your full surroundings rather than a specific area, as your pet will likely move around during the photo shoot.
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Get rid of distractions
It takes very little to distract an animal. While you probably cannot eliminate all distractions, you should keep them to an absolute minimum. Find a secluded location away from the crowd, or remove every unnecessary element from the room. In fact, even you and your camera count as a distraction. Unless you actually want them to look at you, try to move as slowly as you can to avoid drawing attention. In this shot of Mika she does not stand out from the background
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Ask a friend for help Having someone to help you during the photo shoot will make it much easier, safer and a lot more fun for everyone involved.
When shooting outdoors, you will need a friend to watch over your pet and make sure it doesn’t run away or get into dangerous situations. No matter how careful you are, it’s hard to pay attention to these things with a camera blocking most of your vision. Another huge benefit of involving someone else is that they can play with the model and entertain it to help you get the expressions you’re looking for.
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At the shoot
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Make sure the pet is comfortable
One of the most essential pet photography tips is making sure that the animal is comfortable. Animals are creatures of habit and can become really anxious when their routine is altered. And, needless to say, a nervous animal does not make a good model. If you’re taking pictures of your pet, introduce it to your gear beforehand. Let it smell, touch, and hear your camera and any other equipment you will be using. If you’re working with someone else’s fourlegged companion, you’ll need to make sure it gets to know you well enough before you start taking photos. Faith by Wendy Pemberton
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Interact with them
Your pet has no clue what you’re doing with that big, weird thing in front of your face. Focusing too much on the photos and ignoring your little friend will just make it confused and frustrated. If your camera has a tilt-out screen, use this so that you can get the camera away from your face. Also, if you can control the camera remotely this can help even more to get better results. Make sure you spend enough time petting it and playing, even if that means you miss a few picture opportunities. This tip is even more valuable when photographing other people’s pets, as you’ll need to gain and maintain their trust throughout the session.
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Relax and be calm Animals are like little emotional sponges, and if you are stressed and anxious, they will sense it and become stressed and anxious too.
Patience is the key to pet photography. Unlike human models, who generally understand what you are trying to do and how they can help, pets can’t follow specific instructions. You can’t show a sample image to a dog and ask it to repeat it. You’ll just need to be patient enough until the desired expression finally happens.
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Get on their level
Images shot from eye level are usually more attractive to viewers and they also induce empathy. As with children, you get the best images by going down to the level of the pet. Fortunately, tilt screens on modern cameras make this less of a back-breaking exercise. This is especially important when working with subjects that are much smaller than you, such as the ones you’ll be working with during pet photography sessions. Of course, that doesn’t mean that every single one of your pet pictures should be taken from the same perspective. Keep your natural, standing-up viewpoint for a few selected shots. Don’t be afraid to try new things. Look for close-ups and explore how you can break the rules. Diversifying your shots will keep you engaged in the session and can lead to some fun and creative results.
Image by Paul Whitham LPSNZ
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Image by Anita Ruggle-Lussy
Take advantage of their curiosity
Ever heard that curiosity killed the cat? That inquisitive nature can also be found in dogs, and can be a great asset for your compositions. Let them be, and simply wait for the next new thing that will catch their attention. Unlike actively trying to direct their focus to the camera, this will result in more spontaneous and natural expressions. For example, a wide-angle lens paired with a subject curious about photography can lead to some very interesting close-up portraits.
Image by Paul Whitham LPSNZ
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manner.
Catch their attention Sudden sounds are a great way to surprise pets and capture an alert posture, while strings and other toys will help you get the animal’s attention in a more relaxed
If you want your subject to look directly at the camera, you can buy toy squeakers and make the sound directly with your mouth. To make them look somewhere else, see the previous tip.
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Take lots of images
Animals are in constant movement. They blink, turn their ears, twitch their whiskers, and look away at the most inopportune moments. These moves are sometimes so fast that they go unnoticed during the shooting. However, there isn’t a worse feeling than going home after a session and realising that most shots are not good enough. To avoid this, set your camera to ‘burst’ mode and capture numerous shots of the same scene. Image by Paul Whitham LPSNZ
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Know when to quit
As with shooting children, your pet will reach a point, much quicker than you, when it is finished with the session. There is little point in trying to continue once your subject has become uncooperative. At that point it is better to quit, even if you haven’t got the shot you were after, and try again at a later stage. For this reason, if you are setting up a portrait that involves a pet with other family members, it is best to pose the humans first and then bring the animal into the equation.
DInner Dash by Debbie Martin LPSNZ
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Lighting for Pet Photography We all know that lighting is vital for good photography, but are there any special considerations to go on when the subject is a pet? When approaching lighting we have three options available to us: natural/ambient, constant light or flash. If you read online articles they appear to all favour natural light. But, is there a best type of lighting for pets? CameraTalk reached out to a number of New Zealand professional photographers for their comments.
Images by Ruth Hollingsworth
Laura Smith
Catherine Cattanach
I don’t think there is a correct answer here as everyone has their own preferences. Flash/ strobe is great for freezing action but natural light may be great if you’re shooting outdoors at golden hour.
My chickens barely seemed to register the flash! (see Page 50)
Lizzie Gilmour It depends on the kind of pet. Some animals, like horses, can take fright with flash. (This comment is also backed by Craig TurnerBullock.)
Ruth Hollinsworth
Simone Jackson I find almost every situation quite different if it’s in natural light, but if it’s in a studio sorry, no help (lol). It depends also on what location the client wants and quite often they want it included with their family portraiture. So, the pet is usually by that time hyped up like crazy with all the family calling, yelling etc. I find getting control is the most important thing. The rest is working with what I have on the fly.
I do ‘studio’ and don’t use the flash on older animals as it can upset them. It may sound a bit odd, but it depends on the animal. Attached are some images for you to see my take on pet portraits.
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Craig Turner-Bullock *
Kirsten Hough
My preference is outdoors/natural light, but I do studio sessions at Christmas every year and I have rarely met an animal scared of the flash. Some have much faster reactions to it though, and have their eyes closed in most shots.
I photograph animals only and usually work with outdoor natural light. I have just started with studio and use flash.
It’s also worth noting that they don’t have the same shaped faces as people, so lighting techniques aren’t the best, e.g. Rembrandt, lighting on a dog with a long nose.
From my research and learning about indoor studio work with animals, most photographers seem to use flash rather than continuous lighting. I haven’t had any animal have an adverse reaction to flash in studio yet, and I have photographed young dogs through to senior dogs and a lorikeet. But I’m also sure to make sure I rest the animal and not overload or bombard it with dozens of flashes.
So, no clear consensus amongst the professionals. There are however considerations with the animal or the images you want that will determine the lighting. Natural light or constant light is appropriate when you have an animal that could be injured or scared by flash, or where you are shooting candid images and you don’t want the animal’s behaviour to change. It is also appropriate when you have a moving animal and you are using burst modes to take a lot of images in a single click. Flash is appropriate when you want to freeze the action or you want full control over sculpting the light. This would mainly occur in a studio environment with posed portraits.
Images by Paul Whitham LPSNZ
* Craig is speaking and presenting a workshop at the National Convention in Christchurch
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2021 National Exhibition Entries for the 2021 PSNZ SONY National Exhibition are now open and close on 1 March 2021. To view the conditions of entry and to submit your images go to https://photography.org.nz/salonsgalleries/psnz-sony-exhibition/
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That Elusive “A” – an Applicant’s Perspective By Paul Willyams APSNZ AFIAP MNZIPP
THEY SAY THAT you learn more from your failures than your successes – if so, then I am an expert in Associate applications! I finally got it last year after several failures, most of them unexpected, disappointing and frustrating. As I write this you might be sending off your Associate Honours set, or thinking about it for next year. So, what have I learned that you might use? The first thing: I was not alone in having my set rejected. I know many now Fellows who struggled to get their “A”. The success rate is not high, about one in four I think, so each year there are grumpy photographers at our convention. The mood is not lightened when a newbie gets it on their first try! Second thing: this is seriously difficult. The standard of photography and set design is at an advanced level. You are ‘competing’ against the top active club photographers in the country, trying to get into the top quartile. OK, so technically you are not competing, you are being assessed against a standard. But, the Board is not going to select every submission, so aim to be one of the best, not just to get to a standard. And beware, the standard goes up each year. Third thing: the most important thing, the “one ring to rule them all”, is: quality. Bruce emphasised this in his video, and that is consistent with my experience. Each and every image must deserve to be in the set and be technically impeccable. Remember, they will be peered at intently by those photographers who have missed out. You might get away with the odd issue that
Paul’s set is available on the PSNZ website and is expertly analysed by Bruce Girdwood in the Honours Q&A video at https://vimeo. com/486655857 and go to 28m 44s on the timeline. you didn’t notice, but don’t count on it. Fourth thing: a set is not a selection of your best work. I have won lots of awards for individual images, but try to put those images into a set and it just doesn’t work. This leads me to my main challenge – creating a set. If you have been following the grumblings over the last decade you will know the big question: themed or diverse. The guidelines have not been clear in the past. Successful sets have generally been of an excellent quality but highly themed, whilst diverse sets have done poorly. A perception emerged of an unwritten rule that a themed set was required and diversity was, if anything, a disadvantage. The Board made strong efforts last year to dispel that perception and reinforce the need for diversity. Frankly, I believe the word ‘theme’ should not be used. It means different things to different people, so try not to think that way. What the Board is looking for (based on Bruce Girdwood’s excellent Honours Q&A video) is a display of a range of advanced photographic skills, within a coherent set of images. Diversity is essential to show the range of photographic skills, but the set still needs incredibly careful construction to make a set that ‘hangs together’.
Note: These are the author’s views and do not necessarily reflect those of the Honours Board or PSNZ. 30
Some key words I picked up on to describe the positive attributes of a set, versus their antonyms, are: • Flow – how does one image visually flow or link into the next, then the next. Versus disrupted, jarring. • Consistent – sharing some key elements, but that doesn’t mean ‘all the same’. Versus jumbled up, disparate. • Coherent – it makes sense that this image is here. Versus confusing, lacking a story. These are quite fluffy concepts, so the Board requirements are still not crystal clear, but nor should they be. The guidelines leave plenty of room for creativity and innovation. Allow me to explain the thinking behind my A set. I submitted a diverse set of projected images – historically a recipe for disaster. I started and ended on strong images. I had three posed models first up, with similar toning and style. I linked these to three nature subjects using a model that seemed to morph into a heron – that really created a ‘wow’ moment and I think this is a key point in the set where the judges would already take a positive view. Now I must not disappoint them. The nature subjects are in the same position and looking the same way. My link from nature to landscapes is the brown toning, and shapes – the slope of the hill matches the curve of the stairs, which is repeated in the sweep of the riverbank. Then we zoom in from a wide cityscape to two street views, the first having similar tones but splashes of colour, the final image grey with splashes of colour. I start and end the set with unposed street photography of people in their environment. 31
The final image has the subjects retreating, as if closing the story. Recall that the first shot has the subject reading a book, opening the story. These links might not be recognised but they still can affect the viewer. I must emphasise the number of awardwinning images I threw out because they were too different and the number which were good but not good enough. I ended up with a couple of images I wasn’t even that keen on just because they fitted the set. Most of the images were taken a while ago – I could have put a set like this together years earlier, but I didn’t. I wasn’t brutal enough. So, how do you start to build your set? You can start with a concept or idea, and build a set from scratch. Or you can grab a bunch of existing images and try to make a set out of them, reverse-engineering a concept. I know the first approach is best. I look at the work of Ann Bastion FPSNZ EFIAP MFIAP and Helen McLeod FPSNZ GPSA ARPS and realise how much time they have spent planning their sets. Ann had to shoot across four seasons to create her botanical series. Helen’s composites are cleverly designed, pre-visualised and have a consistent style. This doesn’t happen by accident. But I took the latter approach – creating a set from existing images. This is somewhat like solving a Rubik’s Cube. You are constantly swapping images in and out, searching for the right combination. You might re-process or even re-capture to get the perfect fit. Either approach takes time. Do yourself a favour: start working on your 2022 A Set now. Don’t wait until December or January to start. If you haven’t got your A set ready for final printing and matting by the start of December then you are running late.
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Pulling all these thoughts together, this is how I suggest you approach your Associate Honours set: • Decide if you want to participate – do you really want to produce a set? Are you happier entering individual images to the SONY National Exhibition and looking for medals? • Read the guidelines carefully, watch Bruce’s video, and read the CameraTalk articles. • Aim for the highest standard you can achieve. • Develop a concept, playing to your strengths and abilities. • Design your set. Have a structure and a shot list. • Make it a project to shoot your images. This project could be a single shoot or a two year process. • Post-process obsessively. • Be 100% confident in all your images – no fill-ins. Be brutal. • Ask someone else to critically review your draft selections and layout. If you take all this advice and still don’t succeed, just remember that it is your set that is being judged, not you as a photographer. Good luck!
Tip for developing a concept An A set is 12 images total, typically arranged 3 high by 4 wide. So Google for “sets of 3”, “sets of 4”, “sets of twelve”. Also consider “sets of ten” with a lead in and lead out image, or “sets of six” with “pairs”. For example, 12 months of the year, three primary colours, or four riders of the Apocalypse. 33
Speed It Up and Slow It Down! PSNZ Central Regional Convention 2021 - You’re Invited!
JOIN US IN celebrating the art of photography at the PSNZ Central Regional Convention in Taupo from Friday 24 to Sunday 26 September 2021. Our theme highlights the many technical and artistic elements that we photographers use to create great images. There are so many ways to Speed It Up and Slow It Down in our photographic work. Do you want to capture the feeling of speed by slowing the shutter speed down and panning to evoke the sense of movement? Or capture the height of the action by upping your shutter speed and freezing the moment? As one of the country’s top sports photographers, John Cowpland knows all about working at high speed and under intense deadline pressure, making quick decisions about the feeling he wants the image to evoke and what settings to use.
Perhaps you prefer life at a slightly slower pace, taking your time. Taupo is the perfect place to sit back and enjoy the view, to make those beautiful landscape images, long exposures with beautiful milky waters as you look across to the mountain. Perhaps you like your images to have a more painterly look and want to try impressionism, the art of combining slow shutter speeds with movement, expressing emotion through photography. Both Annette Johnston APSNZ and Eva Polak LPSNZ have this down to a fine art. If you’re keen to return to where photography started for you, the way it used to be, you will enjoy listening to Michael Bradley (left) as he tells us about his personal project using wet plate photography. If you’re a traveller, someone who likes to get off the treadmill of everyday life and escape to another country, see other cultures, tell stories of other places and times gone by through your images, then Jeremy Bright APSNZ is your man (right). Our programme will be a mixture of high energy and chill, opportunities to catch up with old friends and make new acquaintances, learn about and share our passion for photography - all in and around Taupo, the wonderful and beautiful place that members of Taupo Camera club call home.
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PSNZ is very grateful to Taupo Camera Club for their generous involvement and support in organising and volunteering to make this fantastic event possible. The convention will be based at the Suncourt Hotel and Conference Centre, an established and full-facility convention centre with easy walking distance to lake and town. It has an on-site restaurant and bar, and our convention dinner will be held on site. High quality accommodation is available at the centre, and Suncourt have agreed to hold all rooms for us until the end of May 2021. Check out the Suncourt facilities at https://suncourt.nz/ and when booking please phone 07 378 8265 and quote the reference ‘2061 PSNZ’ for convention accommodation rates. Registrations for the convention will open shortly after the Vision 2021 National Convention being held in Christchurch in April.
Mandeville Fly-In The Gore Camera Club is holding an exhibition of members’ photos at the Croydon Aviation Heritage Centre at Mandeville, just out of Gore in Southland. The exhibition will open in mid-February and can be seen during the Mandeville Fly-In on Saturday 20 and Sunday 21 February 2021. For more information email gorecameraclub@gmail.com and www. croydonaviation.co.nz/events-happening-at-mandeville will tell you more about the Fly-In.
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The Whanganui Salon is back in 2021! The Whanganui Salon, a pre-eminent national salon of photography from 1953 to 1992, was reestablished on the national photography calendar in 2019 after a gap of 27 years. With a thematic approach (Humanity and Earth) that distinguishes the Salon from other National Salons, and more than 400 entries in 2019, it was a great rebirth which we can now build upon.
In 2021 our overarching theme will remain: Humanity and Earth - demonstrating the impact of human beings on, and their interaction with, our planet In 2021 the Salon will be open for images in three categories: 1. Humanity and the Natural World (relationships between humans and all aspects of the natural world) 2. The Works of Humankind (significant structures or human activities in the context of the environment) 3. Living in a Changing World (the human experience in the 2020s) The Salon is open to all New Zealand photographers. Our 2021 judges are:
• Simon Woolf FPSNZ M.Photog., Wellington, New Zealand • Tony Hewitt FAIPP G.M.Photog II Hon FAIPP FNZIPP, Perth, WA, Australia • Judy Stokes APSNZ, Auckland, New Zealand. Indicative timing in 2021 is: • Entries open 27 July and close 24 August • Judging September Results presented at the opening event of the Whanganui Camera Club annual exhibition on 22 October. More information on the 2021 Salon can be found on the Whanganui Camera Club website http://www. whanganuicameraclub.org.nz/whanganui-salon-2021.html. Check it out – and start taking photos!
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Audio-Visual News by Trish McAuslan AV-AAPS FAPS APSNZ EFIAP Coordinator of Audio-Visuals for PSNZ
Jack Sprosen Memorial Trophy Competition This PSNZ competition was judged at the beginning of December. Thank you very much to everyone who supported this salon by entering an audio-visual. Without you there would not be a competition. Congratulations to everyone who was successful. The award winning AVs will be shown at the National Convention in April. Our thanks also to the judges who were Matt Leamy LPSNZ, Paul Byrne FPSNZ ARPS AFIAP and Elizabeth Carruthers FPSNZ AFIAP.
most sparsely populated countries, principally because nearly 75% of Australia’s land mass is unsuitable for agriculture or habitation. Those areas of Australia are described by geographers as Rangelands, but for most Australians, they are known as the outback. Outback explores why so many urban Australians are drawn to travel in the outback, and traverses different kinds of outback areas.”
Silver Medal Helen McLeod FPSNZ GPSA ARPS for Is Anyone There? Winner of the Music, Poetry and Song category
Here are the results and what the award winners said about their AVs. Winner John Hodgson EFIAP/b AV-AFIAP FAPS AVFAPS ESFIAP Hon.FAPS for Outback Winner of a Gold Medal and the Jack Sprosen Memorial Trophy; winner of the Documentary category
“Australia is one of the most urbanised countries in the world, with 90% of its population located in urban areas, principally along its eastern and southern seaboard. Paradoxically, Australia is one of the world’s
“My AV Is Anyone There? came about as a culmination of two things occurring at once: I was brainstorming business strategies during our COVID-19 lockdown period and the images were created then. Prior to this I was supporting someone with depression issues and the two seemed to meld together. The soundtrack is by one of my favourite groups, with the start of this track seeming to reflect what I was trying to portray.“ 37
Silver Medal
Bronze Medal
Sue Riach APSNZ ARPS AFIAP for The Kiwi Traveller Winner of the Theme category
Bruce Burgess FPSNZ for Dune
“When the world’s borders closed due to the COVID-19 pandemic, New Zealanders’ only option was to take their holidays in their own country. I wanted to make this AV to showcase the great country that we live in, a country very much worth holidaying in. New Zealand has diverse scenery so I chose the transition style to reflect how quickly that scenery can change when driving the length of New Zealand. I kept the images from being in any sort of geographical order to further depict the landscape diversity from the far north to the deep south. My intention is for the AV to encourage, inspire and be a reminder that New Zealand is truly a great place for Kiwis to explore.”
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“This audio-visual is a simple portrayal of lines, patterns and light and shadow. The images were captured on the fringes of the Sahara Desert on the Dunes of Merzouga in Morocco, during late afternoon and sunset light, at a barmy 45 degrees Celsius. I feel that the audio, also called Dune, enhances the mood of the desert and its surroundings.
Bronze Medal Gail Stent FPSNZ for sTop
Commended • Bruce Burgess FPSNZ for The Rock Church • Jo Curtis LPSNZ for Save Canal Road Native Trees • Jenny Dowling LPSNZ for The Rose • Bob McCree FPSNZ for Floral Fantasia
“2020 has been a very unpredictable year with climate change, COVID and more. My audiovisual is an attempt to create awareness of why we need to change our lives. The truth about life lies in not knowing what lies ahead … the uncertainty. But we do have choices. We need to make the right choices to save life on our planet. We need to stop and listen to nature and what it’s trying to say to us. We need to stop and think about how we live our lives and the impact we make on the world. We need to stop and look at what we already have ... Protect it and enjoy it.”
• John Smart LPSNZ for Visit to Scott Base 2004 • John Smart LPSNZ for A Visit to the Roman Baths in Aquae Suli • Gail Stent FPSNZ for Mountains to Sea • Sheryl Williams APSNZ for A Day in the Desert • Sheryl Williams APSNZ for A Floral Rainbow
Merit Certificates • Jo Curtis LPSNZ for Poppy • Glyn Hubbard LPSNZ for Lonely Sky • Jacqui McGowan LPSNZ for Tarapuruhi
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Overseas success
Tauranga AV Salon 2021
For several years the AV Makers of South Africa have run an international themed competition. The judges are also international - last year Bruce Burgess (NZ) was one of the judges, with the other two judges coming from Belgium and the United Kingdom. The theme for the 2020 competition was Stop. Gail Stent FPSNZ (Auckland) was awarded a Silver Medal for her AV called sTop. Gail also won a Bronze Medal in the JSMT with this AV - congratulations to Gail.
Closing 9 June
Upcoming Salons The 321 International Challenge 2021 Closing 15 March https://www.challenge321.org This is a fun competition in which the maximum length of the audio-visual is three min. 21 sec. If you haven’t entered an overseas salon but would like to have a go, this is a good one to enter.
Adelaide AV Fest 2021 Closing 2 April https://www.a-p-s.org.au/index.php/exhibition/ adelaide-av-fest This competition is sponsored by FIAP and success in this salon contributes towards FIAP AV Honours. Any AV entered in the JSMT competition would meet the rules for this competition. Why not give it a go?
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https://taurangaphoto.nz/ This is an international salon and is the only other AV Salon held in New Zealand. Consider entering the AVs you entered in the JSMT into this Salon.
The AV Makers of South Africa Themed Competition 2021 Closes 31 October The theme for this year is Yes. This is a fun competition. An Av entered in this competition can also be entered in the JSMT and the Tauranga AV Salon. There are some other overseas competitions. I will put references to them on the PSNZ AV Facebook Group page. If you are not a member of the AV Facebook Group and would like a copy of this information, please let me know. Also, let me know if you would like to join this AV group.
Trenna Packer Salver Competition Entries open on 1 May 2021 By James Thompson, Salon Coordinator
THE TRENNA PACKER Salver competition is the annual New Zealand nature inter-club competition run by the Nature Photography Society of New Zealand. This competition is for sets of six nature projected images and is open to all clubs in New Zealand. The objective of the Trenna Packer Salver Competition is to illustrate the diversity of the natural world in New Zealand and its offshore islands. We hope that by running an annual New Zealand nature inter-club competition we can promote an increasing interest in photographing the natural world as well as encouraging best practice in photographing nature subjects. Coordinators of sets, please note that the competition is for sets and the image showing the format should be presented in a single row of six. The emphasis is on the set, rather than on the individual images, so it may be better to leave out an excellent image if it does not fit well with other images in the set. The completed set must provide a pleasing demonstration of both technical skill and artistry. They will be judged for flow and cohesion, from image one to two, two to three, three to four, etc. As this is a nature competition, titling is important. Clubs are invited to make it even harder for our judge this year by using diversity, flow, cohesion and correct titling. This year the judge is Bob McCree FPSNZ. Bob has been a member of the Howick Photograph Society for the past 33 years and is a life member. He is a Fellow of the Photographic Society of New Zealand. Bob’s favourite photographic interests are landscape, natural history in general, bird photography, macro photography in nature and photojournalism. He lives in Auckland and travels throughout the country, photographing the towns and the countryside, flora and fauna, and events.
Last year the competition was won by the Christchurch Photographic Society. Judge, Julia Home APSNZ EFIAP/b AAPS GPSA PPSA, had this to say about the set: ” A good variety of subjects with consistent image sizes. A very strong starting image and a lovely strong finishing image. No repetitive subjects and all images are of equal size, giving good transition from one image to the other. Just watch the relative brightness of image 4 compared to the rest of the set.” Entries close on 18 June 2021. See details at https://naturephotography.nz/trenna-packer-salver/
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PSNZ Canon Online Results from Round 6, 2020 THE WINNER OF the sixth and final round for 2020 is Val Burns LPSNZ. The judge was Ann Bastion FPSNZ EFIAP MFIAP. Val is originally from Masterton, but after living in a number of places in the North Island has settled into Kinloch on the shores of Lake Taupo where she has lived for 13 years. Val writes: “I am a photographer specialising in property and real estate after finally giving up my day job six years ago. I love my job as I get to see some amazing homes and properties, and every day is different and surprising. I also like to experiment with creative photography when time and mood allows. My camera is always within reach. “I visited Mum in Masterton for her (rather senior) birthday in early December 2020. She told me about St Cuthbert’s Church in Eketahuna, and she was curious about it. She wanted to see the coloured windows from the interior as well as the timber, so we arranged a private viewing. The windows were certainly beautiful but we just enjoyed being there together. It was so peaceful and quiet in the darkness, with soft light falling through the windows. This visit to the church will be remembered by us both as a special time together. Credit must go to Mum, Mavis Newland (previously a well known painter in Masterton).” Paul Willyams APSNZ AFIAP MNZIPP Canon Online Coordinator
Comments from the Judge Thank you for the opportunity to judge this competition. It was not easy to select just ten images from the 105 submitted. There was a wide variety of subject matter and presentation, all of excellent standard. The selections were chosen purely because of the impact they had on me personally as the selector. When I view an image, I am looking for an emotional connection/reaction, some sort of communication between me and the image. It may be in the story I perceive or the feel I get from the arrangement of an abstract image. This must also be backed up with good composition and technique.
Entries for Round 1 close on 25 February 42
1st Reflecting and Thanking by Val Burns LPSNZ This is a very compelling image, taken from a well-considered position. It has simplicity, with strong bones of compositional technique such as the leading line of the pew posts leading directly to the solitary figure, accented by the line formed between the blue window panes, the blue cardigan and the blue walking frame. The lady is placed on an intersection of the thirds and is perfectly exposed and well lit. Excellent composition, well-fitting its title. 2nd Baby Alone by Lindsay Murray I have chosen this image, not for the warm fuzzies, but rather the opposite. It has drawn my attention because of the disquiet it set up in me. The black and white treatment, along with the moody vignetting around the image, has added a heavy emotional weight to the scene. Words like vulnerability, anxiety, spring to mind when viewing this scene. It begs an answer to so many questions as to what might have happened here.
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PSNZ Canon Online 3rd Mrs Mopp by Elenor Gill As soon as I saw this image, I knew that it would be one of my selections. Everything about it works for me: the lighting, the colours and the look on the lady’s face, showing she is engaged and interested in what’s going on. This image brought a smile to my face and a lifting of the spirits.
4th Hongi by Lynn Fothergill LPSNZ I found this a very moving image of a young boy being recognised by an elder in front of his team or classmates. Perhaps he has gained an achievement of some kind. The depth of field has been just right to show the boy and elder in sharp focus, isolated from the boys in the background.
5th Kingfisher with Crab by Marie Bilodeau LPSNZ A strong crop with complementary background sets the scene to display this colourful bird. It has been well exposed and it’s good to be able to see the prey and tongue detail. Position within the frame and good feather detail complete the image.
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6th The Villain by Derek Teague What a great name for this image. I love the way the wing comes across like a cape, coupled with an arrogant look which has a message of “don’t mess with me”. The lower angle it has been taken from also helps to accentuate the story. I just had to smile when I saw this.
7th Abandoned by Val Pohio APSNZ Softness, peaceful, are words that come to mind when viewing this pastel-coloured image. There is enough of the image to discern it is a yacht, but still present us with a beautiful smudgy look that reminds me of a cuddly mohair blanket. The quiet pastel colours aid in that soft soothing feel. 8th Wild Rose by Malcolm Martin There are lovely complementary colours in this image, with just enough texture to give it a bit of interest. The sharpness and depth of colour on the petal edges are contrasted nicely by the petal’s curves and paler inner hues. The little drops give another dimension of freshness to the whole rose.
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PSNZ Canon Online 9th Painted Pass by Jo Curtis LPSNZ This is another image that that I ‘feel’. This feeling is of velvet movement, just like the colour changes of draped velvet with a plush pile. The colours almost seamlessly bleed into each other. The added texture emphasises the nuances of velvet, giving depth to the plush impression emanating from it.
10th Glorious Magic by Isaac Khasawneh This is a lovely sunset, offering some good strong colours. Saturation is good, with the bulk of the image sitting on the lower third, giving more emphasis to the vastness of the sky. I like the amount of saturation this image has. It has been nicely exposed, with the brighter water reflection colours coupled with the softer more muted colours in the sky.
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Images added to FIAP Collection by Ann Bastion FPSNZ EFIAP MFIAP
FIAP RECEIVES A very high number of images every year. All photos sent to FIAP are kept on several hard drives which are located at different addresses. They form the artistic patrimony of FIAP. Each year FIAP selects a few images from a number of countries in turn and stores them in their ‘collection’ archive. Their choice does not imply any value judgment. In 2020, images from Trish McAuslan APSNZ EFIAP AV-AAPS FAPS, Julia Home APSNZ EFIAP/b AAPS GPSA PPSA and Trish Brown APSNZ ANPSNZ AFIAP were selected from New Zealand.
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PSNZ New Members We have great pleasure in welcoming the following new members of PSNZ, who joined (or rejoined) between 1 December 2020 and 31 January 2021.
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Graham Bailey
Dell Gee
Amber McCardle
Jane Barnes
Glenda Gray
Tony McCartney
Kate Beauchamp
Neville Harlick
Jo Miller
Nelson Boustead
Margaret Harris
Dot Mullay
David Camp
Richard Hensby
Christine Mutlow
Chung-Wei Chen
Elizabeth (Libby) Hogg
Martin Richardson
Allan Collett
Ann Hunn
David Scarisbrick
Raewyn Connolly
Neil Kennington
John Shuker
Helen Cook
Angela Koekkoek
Heather Shuker
Diane Costello
Paul Kozlovskis
John Suckling
Sharon Dawson
Tina Macrae
Philip Teague
Graham Dobbs
Lola Makower
Sue Wagenaar
Sally Dobbs
Linda Mannix
Vivienne Waterer
Linley Earnshaw
Lena Elizabeth Martin
Robyn Garrett
Maurice Martin
PSNZ Membership Benefits Helping Photographers Grow As a PSNZ member you can enjoy a range of benefits, including: • Expert advice to help improve your photography. • The opportunity to achieve a higher Society distinction (APSNZ, FPSNZ). • A complimentary copy of New Zealand Camera, and the ability to submit your images for selection in this annual publication. • Access to member only resources, including a member only PSNZ Facebook page for social chat and updates with other members. • The opportunity to enter the Canon Online Competition, with trophies for each round and for the overall winner each year. • Discounts for Society activities, such as the annual PSNZ national convention, special workshops, international competitions and much more. • The opportunity to participate in regional club meetings and events, including the PSNZ Workshop Series. • A copy of our bimonthly magazine – CameraTalk, with news, reviews, events and some of the best photography around. • The opportunity to exhibit your work in exhibitions such as the PSNZ Canon 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 our regular blog posts to stay up to date with the latest news on events, activities and special offers. • Product discounts and savings when they are offered from our corporate partners and associated companies. • Discounts for major NZIPP events as a PSNZ member.
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Final Thoughts February is an incredibly busy time in the PSNZ calendar with members entering both the PSNZ SONY National Exhibition and the PSNZ honours. On behalf of CameraTalk we wish you the best of luck.
The Last Image
Image by Catherine Cattanach M.NZIPP
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