NZ CameraTalk - February 2023

In this issue

PRESIDENT

Paul Whitham APSNZ

m: 021 644 418

e: president@photography.org.nz

SECRETARY

Chryseis Phillips

m. 021 0277 6639

e. secretary@photography.org.nz

EDITOR & ADVERTISING

Richard Laing

m. 03 327 0485

c. 021 0248 0157

e. rlaing@mac.com

SUBEDITOR

Lindsay Stockbridge LPSNZ

t. 06 348 7141 or m. 027 653 0341

e. dilinz@actrix.co.nz

GRAPHIC DESIGN

Ana Stevens APSNZ

m. 022 193 1973

e. anci.stevens@gmail.com

NEXT CAMERATALK DEADLINE

25 March 2023

Email your contributions to the Subeditor. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned.

The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ.

On the Cover:

Sunset on Wairau by Susan Henley (Full photo on page 43)

The February 2023 issue of CameraTalk does not have a specific theme but covers a range of topics:

• An update on the Jack Sprosen Memorial Trophy Competition for Audio-Visuals and a tutorial on GarageBand missing from the last edition.

• An introduction to a new National Salon organised by the Greymouth Photography Club, now in its 70th year.

• FIAP updates and an article on a recent FIAP meeting in Oman.

• News and notices.

• Canon Online Round 6 and overall results - well done to everyone who took part.

Our next Issue (April 2023):

As ever we are happy to hear from all members with ideas and articles.

Enchanted - Enthralled by Shona Kebble FPSNZ (Full photo on page 26)

A Note from the President

Welcome to 2023, a year that I hope will see your organisation back on track after three years of disruption due to Covid. While the number of infections continues to be high, it has almost dropped off the radar as we have learnt to live with the virus. I know that our ability to deliver a full programme over the last three years has been constantly challenged, and I thank all of you who have stuck with the organisation.

The end of 2022 was frustrating, to say the least. As everyone is aware, our delivery of New Zealand Camera was hit with the supply chain issues that we hear about a lot but maybe don’t fully understand.

The book was assembled in a similar time frame to the previous year, with its printing in China, and then shipped to Caxton in Christchurch for distribution. However, unlike previous years, the container that the books were in was not sent direct to Lyttelton but was instead offloaded in Auckland. The books occupied about three pallets, which would have taken up less than a quarter of a container. That meant that once the container was opened in Auckland, we had to wait for it to be filled up again before it was then shipped south. And, once this was in process, there was no way that anyone could speed up or intercept the process.

It took four weeks for the books to travel the 9,135 km from Hong Kong to Auckland, but it then took another five weeks for them to travel the 1,070 km to Christchurch.

The decision to send them all out to individuals, rather than clubs, did not come cheaply, as you will see when the accounts are presented at our AGM. However, given everything else that had happened in the year, the Council felt that it was a necessary expense. I trust that everyone is enjoying their copies. To those that have not received them we apologise, and I am working to get them out.

To mitigate the issues of longer delivery times, we will be moving up the timing of the 2023 edition, so watch out for emails on that matter.

This year we see the return of two regional conventions, to be held in Whangārei and at Lincoln University. The PSNZ events team has worked very hard in putting these programmes together and trying to create events that are extremely good value for money.

The programmes are on the PSNZ website, and registrations will be opening on 10 February for the South Island event, with the North Island one opening a month later. Remember, these conventions are open to all members and anyone interested in photography. You don’t need to live in the same island as the event to attend.

I would especially encourage anyone living in Northland, Auckland, Waikato or the Bay of Plenty to look seriously at supporting the Whangārei event.

A convention has not been run in that part of the country since the National Convention in 2017, and the last Northern Regional was held in 2014. The 2023 workshop programme is in the final stages of development, and it will be released shortly. It includes a number of new events as well as some that have been run successfully in previous years. I know they have been a long time coming, but I hope to also announce details of digital circles and online seminars very shortly.

I hope that everyone took the opportunity over the holiday period to get out with their cameras. It has been really good to see all the images posted in the Facebook group on the challenges that have been set by Moira Blincoe LPSNZ, and I thank Moira for the effort she puts into that work.

Over the last six years, I have always incorporated some form of water shoot while we are in warmer months. This year I planned to do the same. However, rather than use an inflatable paddling pool, this time I built one in my garden that better fitted the size and shape I was after. A casting call brought out a lot of interested models, and over the last month I have undertaken four separate shoots with a different model each time.

The advantage of shooting something very similar, several times in short succession, is that you can put into practice what you have learned from the previous sessions. It also forced me to deal with natural light, as I predominately shoot under the controlled environment of a studio. I would strongly recommend, to anyone trying to develop a technique, that repetition and then tweaking is the way to go.

Given that we will be into the second month of 2023 by the time you read this, time is clearly not slowing down. I look forward to catching up with many of you in April and May at the regional conventions.

Paul Whitham APSNZ

Key Dates for the Diary

February 10 Registrations for PSNZ South Island Regional Convention Lincoln open

February 10 Entries to the South Island Salon open

February 25 Canon Online Round 1 closes

March 6 Entries to the South Island Salon close

March 10 Registrations for PSNZ North Island Regional Convention Whangarei open

March 10 Entries to the North Island Salon open

March 17 Registrations for PSNZ South Island Regional Convention Lincoln close

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

April 3 Entries to the North Island Salon close

April 8-9 PSNZ South Island Regional Convention, Lincoln College

April 14

Registrations for PSNZ North Island Regional Convention Whangarei close

April 25 Canon Online Round 2 closes

April 30 PSNZ AGM

May 5-7 (Mainly) Mono Landscape, Castle Hill, South Island, with James Gibson APSNZ EFIAP/b

May 6-7 PSNZ North Island Regional Convention, Whangārei (registrations open 10 March)

May 27 How to Shoot a Wedding with Paul Whitham APSNZ

Club News

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

7th FIAP Photo Meeting, Oman 2022

By Liz Hardley FPSNZ EFIAP/g MAPS EPSA LRPS

While a large contingent of New Zealand photographers had attended the 6th FIAP Photo Meeting in 2018, held in Morocco, I was the only New Zealander to attend the 7th Photo Meeting in the Sultanate of Oman. However, being a “Nigella no mates” did not hold me back from soon making friends with photographers from other countries. After all, we all had a common interest in photography, and English is widely spoken and understood.

Travelling to Oman gave me the opportunity to sample the top-rated Qatar Airways Business class on the long flight to Muscat via Doha. Nevertheless, I still felt weary on arrival and was happy to have flown in the day before the meeting, get some rest and acclimatise to the time zone.

The Photo Meeting was attended by 180 photographers from over 25 different countries and lasted for seven days. The organisation was excellent, with substantial government involvement from the Ministry of Culture, Sports and Youth. On arrival in Muscat I was transported from the airport to the 5-star Intercontinental Hotel on Qurum Beach, the official hotel for delegates. We were issued with welcome packs, SIM cards and a data package by Omantel, which enabled us to access the internet when wi-fi was unavailable.

On the first full day we visited the Grand Mosque and toured the Royal Opera House, opposite the hotel, both of which offered external and internal architectural opportunities. In the evening, we travelled to the Sultan Qaboos University for the opening ceremony, followed by a buffet dinner outside in the courtyard. Three meals a day were included in the package, and the food was consistently excellent.

In the following three days, we split into three groups, making the organisation of so many photographers more manageable when travelling outside Muscat. On the first day, our group visited the ancient fort and souq at Nizwa, with plenty of opportunities to take portraits, and photograph cultural activities. Later we visited the huge mediaeval Bahla fort, part of a UNESCO world site. The next day we travelled to Quarayat and photographed the impressive Wadi Dhayqa dam, and also visited the beach there to take photos of fishermen. On the following day, we travelled to the Sharqiya Sands Desert, where we stayed overnight at the Arabian Oryx Camp not in tents, but in individual stone chalets. There were various activities to photograph here, including camel racing.

Arriving back in Muscat the following day we attended the 35th FIAP Biennial B & W Event and exhibition, hosted by the Photographic Society of Oman in the new FIAP Exhibition Centre. It was exciting to see some of the photographs from the New Zealand entry exhibited. In the evening there was a “FIAP Evening” opened by

On the last full day we visited Muttrah, taking photographs at the corniche and the souk, and we were able to do some shopping. After lunch (at an Italian restaurant where we were served alcohol for the only time during the week!) we visited the National Museum and the Al Alam Palace. In the evening the closing ceremony and farewell dinner were held in the hotel grounds, and various service awards were presented.

Although it was a very hectic week I enjoyed the opportunity to participate in this event, and am looking forward to attending future meetings.

Tino Soriano, National Geographic photographer and representative of the Confederacion Española De Fotografia. There were screenings of images from the winners of the various FIAP competitions from the last two years and from the photographers who were awarded the Best of the Best Awards in 2018 & 2019.

New: Māwhera National Salon of Photography

By Elizabeth Passuello FPSNZ FNPSNZ GMAPS EFIAP EPSA

The Greymouth Photography Club is all set for an exciting year ahead as it celebrates its 70th Anniversary, including the introduction of a new national salon.

Founded on 18 February 1953, by a small group of film and still camera enthusiasts, the Greymouth Photography Club was originally known as the Greymouth Cine and Camera Club, then later (1970) the Greymouth Camera Club. In 2007 the “camera” in its name was replaced by “photography” to bring more emphasis to the art rather than the apparatus.

The club currently has around 40 members, ranging in ability from those just beginning their photographic journey to others with years of experience behind them. The majority of our members are from Greymouth, Hokitika and surrounding areas on the West Coast. We are also pleased to have a few members from further afield in Canterbury, Otago and as far north as Tauranga.

As 2023 sees our club turning 70, we wanted to do something special to celebrate such a significant milestone in its history; therefore, our 70th Anniversary will be marked by several events spread throughout the year.

Two ways to mark the occasion will come in published form. In 2011, 2012 and 2013, we published an annual book, titled Diversity, featuring members' photographs. This year we are publishing a 70th Anniversary edition as well as a second book which will record the history of our club. Later in the year, we will hold a print exhibition of members' photographs in the Left Bank Art Gallery, Greymouth. It will run for several weeks in the leadup to Christmas.

However, the biggest event to celebrate our anniversary and, we think the most exciting of all, will be a new national salon: the Māwhera National Salon of Photography. Greymouth (Māwhera) has hosted PSNZ conventions in past years, but never (as far as we can determine) have we run our very own national salon.

We have a salon committee of five very enthusiastic members who are pleased to be able to offer this new salon to all photographers in New Zealand and PSNZ financial members residing overseas. Our salon will be hosted on a site which specialises in salons (both national and international) and club competitions; check it out here: https://mawhera. myphotoclub.com.au.

The Māwhera National Salon of Photography has five sections: Open Colour, Open Monochrome, Nature, Creative and Portraits. We have taken some inspiration from the internationals for the Open sections and opted to keep colour and monochrome separate. For the purposes of our salon, the Portraits section will include people and/or animals.

We are thrilled to have six renowned and highly respected New Zealand photographers judging our salon. Toya Heatley FPSNZ AFIAP, Shona Kebble FPSNZ and Glenda Rees will be judging the Open Colour and Nature sections, while Liz Hardley FPSNZ EFIAP/g MAPS EPSA LRPS, Shelley Harvey BPSA and Karen Moffatt-McLeod APSNZ will judge Open Monochrome, Creative and Portraits.

Up for grabs are some fabulous awards. In each section, a Gold, Silver and Bronze medal and six Honours ribbons will be awarded. While these awards are determined by agreement among the judges, each judge will also award a Judge's Choice ribbon to a photograph of their own choosing, one per judge in each section (i.e. a total of three per section).

A PDF salon catalogue will be available to all entrants via the website after the salon, while a screening of all successful entries will be held at a meeting of the Greymouth Photography Club on 18 July 2023.

The salon opens for entries on 1 May 2023 and will close on 31 May 2023. We are looking forward to seeing all your amazing images in our salon! Any enquiries can be sent to the Salon Chair at mawherasalon@gmail.com.

An Alternative to the Zone System for Digital Photography

By Simon Forsyth

Recently I have come across an alternative take on Ansel Adams’ Zone system which was formulated way back in the 1940s, long before digital photography was even thought of!

The premise of the Zone system, as many will know, centred around measuring a mid-gray tone and using that to calculate exposure. Mostly, this was for black and white film as there was almost no colour film back then. Meters were then calibrated to read a mid-gray tone. While the system could and was used for colour film that came later, the trick was working out what was mid-gray in terms of brightness or luminosity. Also, nearly all meters were reflective and measured the total scene in front of them. Spot meters did not appear until later.

The problem with reflected meters is that they assume that all tones in the scene that it is pointed at will average mid-gray which is defined as 18% gray. This means that it reflects 18% of the light falling on it! The other option is an incident meter which measures the light falling on a subject as opposed to the light reflected from it. As long as the light measured is the same as the light falling on the scene this can result in a more accurate reading.

Spot meters measure a small spot, typically 1-5° wide, to get the exposure value. Nowadays most cameras have a spot meter facility built in, but a handheld spot meter is a useful option! The issue with inbuilt spot meters is that the spot is not always 1%! Also, beware of zoom lenses with variable apertures as the exposure will change because the aperture changes as you zoom in and out!

All meters are calibrated to an ISO standard which is ± ½ a stop, so technically measuring with two meters could result in the readings being a whole stop out! Also at play here is the accuracy of the sensor, which like film can vary, and the dynamic range comes into play here. While digital sensors have more dynamic range than film ever had they still cannot reveal the range that the human eye can see. This is because the eye can adjust to the brightness of the area it is looking at automatically, which the camera cannot do.

While the Zone System can help in the accuracy of metering, it can take time, unless the photographer can visualise a mid-gray tone in colour! Sometimes it is assumed that grass is a mid-tone, but that depends on the light and how glossy the grass is!

I have been reading The Optimum Digital Exposure by Bob DiNatale who has developed a system called the OneZone and has registered the trademark. He outlines two methods to achieve an exposure that retains as much information in both the dark and the bright areas!

Initially, there is some measuring involved to work out the metering and dynamic range of the sensor, but once this is done things should be reasonably simple. Even getting it right with the Zone System involved initially measuring things and this method is easier than doing that. When I was setting up for the Zone System it involved shooting black and white film at different exposures, processing it and then measuring it with a densitometer to ensure accuracy! I’m glad those days are behind me!

The first step in calibration involves photographing a white card. Preferably use the back side of a Gray Card which is white! The card doesn’t need to be in focus, so I suggest you switch to manual focus. Fill the frame with the card, then set the ISO and Aperture so that the meter reads the shutter speed as 1/250th sec. Use manual mode to prevent the meter from changing any settings. Turn Auto ISO off! Most cameras have a spot metering facility nowadays so preferably use this. Also, be sure to shoot in RAW!

Now take a series of frames from the recommended exposure (which will result in a mid-gray tone as the meter thinks it should be this tone) in 1/3rd stops, all the way down to 1/8th sec. Movement doesn’t matter as you are only looking for a tone. What you will have is a series of 16 exposures over a five stop range from mid-gray to white.

Next, look at the images on the back of the camera with the blinkies turned on, or Zebra Stripes if you use a Sony! The blinkies indicate what the camera

thinks is blown out! Note that the image on the back of the camera is a jpeg from the raw file. Also, camera manufacturers are conservative in deciding when the blinkies turn on. Usually this is at 90% so the highlights aren’t blown out at all and there is still detail there, even though the histogram on the camera shows it climbing the right side.

Next, import your images into your raw processing software (I use Lightroom) and evaluate them. Turn on the highlight clipping warning in the software. You are aiming to find your Optimum White Point. Do this as follows:

1 a Place the cursor in the middle of the first exposure and note the %RGB values under the histogram. Do this in the develop module in Lightroom.

1 b Advance through the exposures until the %RGB value reads 99%. This will be the exposure before the highlight clipping warning shows in Lightroom.

Note that the clipping warning in Lightroom is different from the blinkies on the back of your camera. The blinkies usually appear at 90% whereas the Highlight clipping warning occurs at 99%! This is Your Optimum White Point and the exposure after this will show the highlight clipping warning. Ideally, this should be at +4EV! What you have is the +EV value that is your OneZone bias.

An Alternative to the Zone System for Digital Photography

By Simon Forsyth

I suggest you make a table with the shutter speed on the bottom row and the EV values above. So, 1/250 will have EV 0 above it, 1/200 will have 1/3 above it, etc, until you come to +5EV at the right end.

To put this into practice, use a Spot meter, either the in-camera one or a handheld one. Choose the area in the scene you want to place as the brightest white in the image. (Don’t use the sun as looking at it will damage your eye! Also, the sun will always blow out except at sunrise/sunset.) Spot meter the area above and apply the exposure bias that you measured before. Shoot the image!

What you are doing in effect, for those who understand the Zone System, is placing the metered point in Zone 9.

While this is a good method for landscape photography where the scene doesn’t move, it won’t work for street photography etc where things change rapidly! To deal with these situations I suggest you use this method:

Use the multizone metering pattern in your camera.

Create three bracketed images. The three exposures should be +1 1/3rd more than the camera’s recommended exposure. The other two should be +2/3rd and +2 stops from the first exposure. So, the three exposures should be +2/3rds stop, +1/3rd Stops, +2 Stops. DiNatale recommends that you adjust the sequence of the bracketed exposures to set it to 0/-/+. This will be beneficial in post-processing to show the base exposure followed by the bracketed exposures.

In the film days, a good Black and White negative was one that you could read the newspaper through. In the digital age, an optimum image looks as if it was dipped in milk.

Looking at the three images in the screenshot to the right, the optimal exposure would be the middle one. That is the one that you should process to produce the maximum detail and the least noise in the shadows. If you look at the histogram you can see that there is no clipping in the shadows.

While the method using multi-zone metering (it has different names for each camera manufacturer) may not be quite as accurate, for general shooting situations it should be accurate enough to get an image that has the maximum amount of detail.

When you import the images into your processing software (I use Lightroom) look at the three images together when you are using the multi-zone metering method. You can stack each set of exposures and look at them together to find the best exposure. The exposure you want is the one in which the highlight warnings do not obscure the highlight detail. Specular highlights and the sun can be ignored. This exposure will ensure there is detail, even in the blacks!

When you use the Auto Develop button in Lightroom, the Exposure slider should be in the negative range! After selecting the optimum exposure you can delete the bracketed images! The spot metering method should often negate the need for HDR bracketing as it will ensure the highlights won’t blow out (apart from specular highlights and the sun), while ensuring there is detail in the shadows and minimal noise! Also, when used with high ISOs the noise will be less!

Bob DiNatale has also written Processing the Digital Image, a companion to The Optimum Digital Exposure. Having not yet read this I will endeavour to do an article on it for a future CT The link to download the books is https://www.bobdinatale.com/books/. The hard copy versions appear to be out of print, but because they have just been updated, they may be available in future. DiNatale also allows the books to be printed from the PDF download for personal use.

New from Panasonic!

By Aston Moss LPSNZ

Panasonic has recently released the LUMIX S5II and S5IIX, the beginning of a new phase for LUMIX. These versatile hybrid full-frame mirrorless cameras will take your creativity to the next level. Pitched at ambitious creators, they are the latest additions to its LUMIX S Series line-up.

Feature-packed, these exciting new additions to the Lumix S Series include the new Phase Hybrid AF and Panasonic's powerful image stabilisation system. They bring together outstanding photo and video performance while still offering incredible portability.

Some of the other features and benefits to be enjoyed by users of the LUMIX S5II and S5IIX:

• Its new Hybrid Phase Autofocus system makes it competitive, accurate and reliable for both video and stills.

• The Realtime LUT gives users the ability to import LUTs (Lookup Table) for custom in-camera stills and video.

• It offers advanced in-camera photo performance with 30 frames per second shooting with rolling shutter correction, high res mode. Live composite mode is also coming via firmware update soon.

• If you are a videographer, not just a photographer, the Lumix S5II/S5IIX provides advanced video performance with unlimited 4k video and 6k full sensor mode, meaning you can shoot vertical and horizontal video simultaneously.

• All this with advanced stabilisation due to in-body and dial IS modes for accurate camera shake compensation.

• The S5IIX also features wired/wireless IP streaming function, USB tethering and RAW HDMI Video output. This all sits comfortably in the photographer's hands, due to refined ergonomics, including improved EVF, 8-way joystick and revised button placement. The S5IIX is packaged in a striking black matte body ̶. they look as good as they perform.

CameraTalk had the opportunity to catch up with Richard Wong, to hear about his first-hand experience with these striking new cameras.

Richard is based in Auckland. He has been shooting weddings, portraits and events for more than ten years. He enjoys doing street photography in his spare time and he has also been reviewing camera gear for various websites and magazines for more than a decade, and recently on his own YouTube channel as well. You can connect with Richard via his website www.photobyrichard.com and his YouTube channel @ TheRealRichardWong.

Q: You’ve had the opportunity to try out the Lumix S5II alongside your experience shooting with other camera brands and models. What is it about the new Lumix S5II that you find most appealing?

A. Often, when I try a new camera, I will be impressed by one or two of its new features, but with the Lumix S5II, it’s quite different. Now, don’t get me wrong, there are certainly new features that impressed me, but what I really like about the S5II is the fact that it can appeal to a very wide range of users. Usually, a camera is either primarily designed for photographers or for videographers, but with the S5II, if you are a photographer, whether you shoot weddings, landsacpes, street photography or products, you will love this camera. If you are a videographer, you’ll

love it too. And, if you are a hybrid shooter and shoot a bit of both, you’ll definitely love it. It is easily one of the best all-round cameras I’ve ever used.

Q: There are many new features in the LUMIX S5II. Which one do you see as most valuable in your work as a wedding photographer?

A: The “Real Time LUT” is probably the most valuable new feature when I work as a wedding photographer. Pretty much every wedding photographer, including myself, will apply our own “presets” to colour grade our photos to give them that special cinematic look. However, to apply the preset we would need to first copy the photos to our computer and import them to our editing software. Then we could apply the preset to colour grade the photos, with some editing and adjustment as well. When I get home after a wedding, I will usually copy all the photos to my computer and import them to Lightroom immediately. Since that process could take easily an hour in total, I will wait until the next day before I start to have a look and play with the photos.

These days, more and more of my clients will want me to give them a few of their wedding photos on the same day, so they can share them on social media immediately. For me to do that, I would either need to bring my laptop to the wedding venue and try do that when I have some spare time, or I would need to stay up for another hour or two after I get home, as I need to wait for all the copy and import process to complete, then select a few of my favourites, do some quick adjustments and apply my colour grading and then email a few photos to my client.

With the S5II, I can load my favourite LUT (Lookup Table) files onto the S5II and pick one for the Real Time LUT feature. When I take a photo, the camera will then use that particular LUT to generate a JPG that is already colour-graded to my taste. I can then transfer the colour-graded JPG to my phone wirelessly, using the Lumix Sync app, and email it to my client within seconds after I’ve captured the photo.

Imagine I’m shooting a wedding. Right after shooting the group photo with all the guests in it, I can immediately email that photo to everyone, and the photo is already colour graded!

Another very cool thing. If I find the LUT doesn’t give me the look I want, I can go into the camera menu and select a different LUT and the camera can re-render a new JPG from the RAW file. At the same time, I can do some quick adjustments like brightness, highlight/shadow curve, saturation etc, all using the S5II’s in-camera RAW editing feature. I can edit and create a beautiful JPG with my own secret colour grading LUT, without using a computer. It is just such a cool feature that would also make my clients very happy.

Q Panasonic markets the Lumix S5II as a hybrid camera (for photo and video). What does that mean to you as a wedding photographer?

Video is something Panasonic always considers as one of their core focus rather than as an afterthought feature added just to tick some boxes. Look at the five Lumix S f/1.8 prime lenses currently available they all have very minimal focus breathing which makes them suitable for video shooting. But it’s not just that. All the f/1.8 lenses are the same size, similar weight and have the same filter thread size. Videographers who shoot with a gimbal can swap the lens very quickly without having to rebalance the gimbal.

New from Panasonic!

By Aston Moss LPSNZ

I feel the Lumix S5II is the best hybrid camera Panasonic has ever made. You can record at 4k resolution in any mode including 10bit 422 with no time limit and no overheating, thanks to the new active cooling system that cleverly hides inside the “pentaprism” area. If you want to record at 6k, Panasonic doesn’t say it won’t overheat but I managed to record almost three hours of 6k 10-bit video without any sign of overheating on a 26-degree day.

While the previous Panasonic cameras had a bit of bad “rep” for their slow autofocus system, the S5II has a brand new hybrid phase detection autofocus system, and the continuous video autofocus performance is now on par with the best cameras I’ve tested.

I was really surprised by the camera’s new Active I.S. Inbody image stabilisation system. The video footage looks a lot more stable than any other full-frame camera I’ve tested when I did my side-by-side test with 50 mm lens.

With its new autofocus system and active I.S., the S5II is easily the best video camera if you need to shoot some handheld “run and gun” style videos, for example during a wedding reception when you need to move around quickly.

There are a bunch of visual assist tools available like waveform, vectorscope, zebra, like most other Lumix mirrorless cameras, and that really helps me to ensure my exposure and colours are good.

If I need to work with a videography team which uses a different system, I can use the Real Time LUT feature to do a colour conversion so the video footage from the S5II can match the colours from another brand. That would make editing much easier when you try to mix the video from multiple cameras. Usually, cameras from different brands will produce different colours.

If I need to shoot both photos and videos at the same wedding, I don’t need to carry a separate camera for each anymore, because the S5II is also a very good video camera.

Q: You’ve already done a number of reviews of the LUMIX S5II on your YouTube channel. What did you most enjoy about your time shooting with this camera?

A: For one of my videos I spent a day by myself in Tokyo, doing street photography with the Lumix S5II. I gave myself a little challenge. I only shot with the 20-60mm kit lens and shot all the photos in JPG format, using the real-time LUT feature and in 65:24 “X-Pan” style wide format. I then shared the photos from that day on my YouTube channel.. All the photos I shared were JPGs, straight out of camera with absoutely no editing. I didn’t even allow myself to adjust the horizon or do any cropping at all.

Trying to get everything as good as possible in street photography is not the easiest thing but it was such a fantastic and really enjoyable experience. I was really happy shooting street photography with the Lumix S5II and with the photos I took. I think the JPGs rendered by the S5II using the real time LUT feature look amazing, but it’s not just me that thinks this way a lot of my viewers tell me the same. If you are interested to have a look at my photos, you can find the video on my YouTube channel.

Q: Richard, alongside your work as a wedding photographer, you shoot other genres including landscape, street, and events. How does the functionality in these new cameras apply to these different genres, and are there any particular features that differentiate these cameras from some of the others on the market?

A: For street photography and event photography, the real-time LUT feature is fantastic as it allows you to have some very beautiful photos that are already colour-graded straight out of the camera. While Lumix S5II’s 24MP resolution is enough for most types of photography, when I shoot landscapes I do want to have more resolution. Luckily, the S5II has a high-resolution mode in which the camera can generate 96MP photos from a quick multishot exposure. The 96MP contains a lot more detail than the normal 24MP photo; it also has less noise and removes pretty much any aliasing artefact as well.

But the best thing about S5II’s high-resolution mode is that, not only can you have both the RAW and JPG output, the high-resolution photo is generated in-camera automatically and immediately after you take the photo. After you click the shutter button, you just need to wait a few seconds and the high-resolution file will be created and written to the memory card. You can immediately review the high-resolution photo and check that the result is exactly what you expected. If something’s not quite right, you can make some adjustments and retake the photo. This is just so much quicker and more reliable than other cameras that require the photographer to copy the photos to a computer first and then use special software to generate the high-resolution photo.

Taking photos with the new LUMIX S5II … is a really enjoyable experience. Great ergonomics and easy-to-use user interface have always been strong Panasonic features. But now, with the brand new autofocus system, when I pair the Lumix S5II with some of Lumix’s excellent S series f/1.8 prime lenses, I have a full-frame camera setup that won’t break my back or arm when I have to do a 12 hours plus wedding. It also won’t break my bank, as Lumix cameras and lenses are all very well priced and offer great value for money

Richard, could you finish the following sentence for me, with your own thoughts?

“Taking photos with the new LUMIX S5II…”

Welcome to Our New PSNZ Members!

Dianne Wells

Peter Cole

Debra Cole

James Sim

Marie Brunsart

Cheng-Wei Liu

Hedy Huan

Rachel Jordan

Kathryn Nobbs

Mark Harding

Jill Towers

Tianxiang (Tein) Liu

Tharrin Way

Lorenzo Kokx

ENDLESS POTENTIAL STARTS

WITH INNOVATION

MORE:

Introducing: Rock Wren

Photographer Doug Thorne still lives in the picturesque South Island town where he grew up, continually inspired by the natural beauty of Te Anau, “gateway to Milford Sound”. He primarily shoots real estate, weddings and events, as a full-time commercial photographer, but Doug’s free time is given over to exploring his wild backyard and creating spectacular landscape, astro, and wildlife imagery. It was on one of these personal expeditions that Doug shot the frame that would win him the Ockham Residential People’s Choice accolade at the 2022 New Zealand Geographic Photographer of the Year Awards.

Rock Wren with Milford Sound.

Photo by Douglas Thorne Sony Alpha 7 IV with Tamron 17-28mm F2.8 lens. 1/320 sec, f/10, ISO 160

Setting the Scene

It’s early evening when Doug, his brother, and a friend begin their trek up the demanding Gertrude Saddle alpine hiking track in Fiordland National Park. The photographer used to work as a nature guide, leading hikes through the area, but even for an experienced back-country tramper the tricky terrain and hot weather make it tough going — especially with a deadline to meet.

‘We were going up the snowfield, and had to put crampons on, and I remember thinking, oh man, we’re losing the light!’ Doug recalls.

The party pushed hard and made it up the nearvertical climb to Barrier Knob three hours after setting out. They were rewarded with a stunning view looking down on the stately peaks and snaking water of Milford Sound. But Doug wanted more than just beautiful scenery.

While rock-hopping down a ridge, the photographer heard the quick high-pitched chirping he recognised as the song of the rock wren, a tiny alpine bird native

to the Southern Alps. He spied a group of the birds jumping and flitting among the boulders, making their way up the incline towards him.

Doug dropped to the rocky ground to not disturb the excitable birds and began to mimic their tweeting call. Familiar with the wren’s behaviour, the photographer positioned one of the taller rocks in the centre of his frame, knowing that the rock wren — much like kea — typically enjoys a higher perch.

His hunch paid off and the scene was set to capture a portrait of one of the country’s smallest birds surrounded by the rugged majesty of its alpine home.

Gear and Camera Settings

Doug shot the award-winning image with his Sony Alpha 7 IV, paired with a Tamron 17-28mm f/2.8 wide-angle zoom lens. He used a fairly deep aperture of f/10 to ensure the background was in focus, with ISO at 160, and a shutter speed of 1/320s to freeze his twitchy subject.

Literally going to great heights to get the shot, the photographer appreciates how little weight the Alpha 7 IV adds to his gear. He is also impressed with its dynamic range, ideal for managing the highlights and shadows of landscape scenes without resorting to bracketing.

Doug attributes some of the shot’s success to “the luck of the draw”, having been on a number of previous trips to photograph rock wren that didn’t result in the image he was after. But getting in the right position, with the right gear, using the right settings when the right time finally comes — that’s the sort of hustle that makes you the People’s Choice.

To see more of Doug’s work,visit www.douglasthorne.photo or find him on Instagram at @douglasthornephotography.

My Fellowship Journey: Shona Kebble

When I achieved my Associateship in 2005, little did I know that it would take me 17 years to be awarded a Fellowship from the Photographic Society of New Zealand.

During the first lockdown, I decided to get out my water drop kit, which I have had for some time, and see if I could produce anything worth putting into competitions. The Howick Photographic Society kept going, using Zoom during the lockdown, so we continued to have digital competitions. I spent many hours in my photography room, trying different formulas for the liquid, different flashes for the lighting, different timings for the splashes and different colours for the drops and backgrounds

Success was variable, from getting nothing for days to achieving some lovely shapes and splashes. As I was doing this, the idea for a Fellowship set was forming. After about two weeks of trial and error with the splashes I started to photograph some really amazing shapes. Several weeks later I had enough to trawl through and select the ones I liked the best. As I was doing this I was thinking about how the drops made me feel and what the shapes meant to me. Some drop shapes looked like actual things and others gave me an emotional feeling. I started writing down words to describe the drops and it soon developed into a list of emotions and experiences. That is when the idea of a journey through life could be the theme. I could see layers of meanings in each image and the idea and process became a personal journey as well.

I selected the best drops and then had to put them into some kind of order. The backgrounds were mostly produced using several pieces of coloured A4 paper. The water line in each image was at a different level so I decided to remove the line made by the edge of the bowl to give a seamless background from water into the colours. At first, I put the frame around the images with the titles in the frame at the top but decided to take the wording out as it detracted from the image. The Statement of Intent took some thinking about, and I went through many different edits.

Finally, my set was ready to submit. That was the scariest part of the process but once it was in I was able to relax, sit, wait and hope.

AV Notes

By Trish McAuslan FPSNZ AV-AAPS EFIAP/b FAPS Coordinator of Audio-Visuals for PSNZ

Jack Sprosen Memorial Trophy Competition for Audio-Visuals — an Update

Some progress has been made with planning for 2023. I am expecting the next Jack Sprosen Memorial Trophy competition to be held early in the year, probably in March or April. Details such as the closing date will be sent to all PSNZ members and also put on the website as soon as they are available. In the meantime, put your thinking caps on and start creating an audio-visual. There are no plans to change the rules for next year, so you can check them out on the PSNZ website: https://photography.org.nz/jacksprosen/.

Keep in mind that the rules affecting the AVs are the same for both the Jack Sprosen and the Tauranga AV Salon, so you can plan to enter your creations in both salons.

Consider entering the 321 Challenge!

This is a short AV, no longer than 3 minutes 21 seconds. There are no categories or set subjects. AVs entered in this Salon can be entered in both the JSMT and Tauranga Salons. Alternatively you might like to consider if one of your earlier AVs can be shortened.

Entries close on 15 March. For all the details and to enter, go to https://www.challenge321.org/.

Using Garageband

For a number of months, I have promised to introduce Garageband, a free music editing application for Mac users. It is one of the applications installed on the Mac when you purchase it, although it may need to be updated.

There are several reasons why I use Garageband to create my audio track, rather than using the audio tracks in Fotomagico which is where my AV has been created. One reason is that Fotomagico only allows three audio tracks whereas Garageband allows me to use as many as I want to. Editing multiple audio tracks in Garageband is easier and offers more options than in Fotomagico. I am able to create more complex audio tracks in Garageband, and they remain editable as long as I have saved the Garageband project.

Before I start, I need to say that Garageband is a complex programme primarily aimed at the music industry. We will only use a few of its features, but if you are interested in creating your own music or recording your own songs, this application is worthwhile learning.

Generally, before beginning your Garageband project you will have created a storyline of the images as accurately as possible. Save the images as an mp4 video track without any audio. N.B. I suggest saving this copy of the video with an appropriate name such as xxxximages, and put it into the main folder for that AV.

If you were creating a video of your feedback with the images it would be possible to create the audio track first and then sync the images with the track later.

When you open Garageband for the first time you will have the opportunity to start a new project. If you have previously created one or more projects you can choose to open an existing project or start a new one. For these notes, I have chosen to create an Empty Project.

This brings up a panel for you to choose a track type. The most relevant one for this project is the one with the microphone. This can also be used by people creating a podcast or evaluators presenting their feedback.

We are going to start by creating a very basic audio track and work towards something more complex later. Generally, before beginning your Garageband project you will have created a storyline of the images as accurately as possible. Save the images as an mp4 video track without any audio. NB I suggest saving this copy of the video with an appropriate name such as xxxximages, and put it into the main folder for that AV.

In the Details Panel choose No Input and then Create. This opens the programme with one empty Audio Track called Audio 1.

A major difference between creating the audio track in Audacity and creating it in Garageband is that you can import the video track you created, of just the images, into Garageband. This will help with the timing of the audio, i.e. music, sounds or narration in Garageband.

To do this go to Track-> Show Movie Track. Drag and drop the mp4 video track onto the Movie track. (N.B. It may take a while to load.) If some of the frames from your video are blank, you can continue because the information will be there even if you can’t see it. It will probably load slowly.

A Metronome is used by musicians to keep an even beat. In Garageband, it sounds like regular clicks and it is very distracting. To turn it off, put your cursor on it and click. It is turned off if the purple surround disappears.

Save

The changes you made to your music track must be saved so you can return to the project at a later date and make further changes. This is similar to other times when you save your work.

Go to File ->Save. Leave your project in Garageband. Give your project a name. It is important to understand that this is your working file which you can change in Garageband, but it is not in a format that can be imported into your AV programme. We will deal with that later.

AV Notes

Adding a Music Track (Basic A)

Find a piece of music which is about the same length as your slides. You can shorten or lengthen slides later so the music and slides are the same length. This is important because it will allow the natural end of the music to finish with the end of your slides. If you just stop the music part way through the tune because the slides have finished, it will be easily noticed by the judges and penalised.

Store the piece of music you plan to use in the main folder for your AV.

Drag and drop your music onto the Audio 1 track.

• You can shift the music to a new place on the track by grabbing the bar across the top with the cursor and dragging it to a new position.

• You can rename the track by right-clicking Audio 1 and in the drop-down menu choose Rename Track.

Trimming the End

Some music has a long tail at the end which you cannot hear but which will stop your completed AV ending when the audible music ends. You can shorten some of the slides so the music and slides end together and put one of two long black slides at the end to cover this time. Better still, you can shorten the end of the music track. There are two ways to do this.

1 Put the cursor at the end of the music track and it will change to a square bracket with two arrowheads. (Make sure you get this symbol and not the option to loop off.) Hold down the mouse and drag the end of the music track back to where the sound waves actually end. Using this method is non-destructive and can be changed later.

2 Put the Playhead where you want the music track to end. Listen to the end to make sure you leave enough music to fade out.

• Go to Edit->Split regions at Playhead (Comd +T).

• Make sure the part of the track that you want to remove is selected (the top bar is highlighted).

• Press Delete to remove the last bit. This method is permanent.

• Remember to save your work often!

Share

This will convert your working file into a format that you can import into your AV project.

There are several ways you can do this. I am only going to cover one way but if you are interested you can explore the other options.

• Go to Share-> Export Song to Disc.

• Save As….. Note that this uses the same name as the one you gave it when you started this project, but adds the date and the time. You can use this information to work out which is the latest version of your project. Another option is to replace the date and time with v1, v2 etc.

The default is to save the finished version of your project to Garageband, along with the working version. My preference is to save it into the same folder where all the other elements for this AV have been stored.

To import this project into a format that can be used in any project select mp3. In the next button, click on the double arrow if necessary and choose the Highest Quality. Choose Export.

Adding your Music Track to your AV

• Open your AV Making programme. Drag and drop the Shared Music file onto a track below the images.

• Play your AV to see how well the music works with the images. You may be able to adjust the length of some images to work better with the music.

• To change your music track, go back to Garageband and Open an Existing Project.

• Open the working copy of your Project.

You can either make changes and save these changes OR you can Save As … and add a version number to the title. This allows you to go back to an earlier version if the changes you make don’t work.

Next time I will give instructions for adding a voice-over and adjusting the music.

PSNZ Membership Benefits

• Expert advice to help improve your photography.

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

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

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

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

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

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

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

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

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

• Ability to promote your website on our website.

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

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

• Discounts for major NZIPP events as a PSNZ member.

PSNZ Workshop Series

By Lynda Leng LPSNZ

Intentional Camera Movement (ICM) with Judy Stokes APSNZ

The day dawned slightly grey, with just the right amount of light for ICM work. For me, it was an uneventful one-hour drive south to Miranda where the group met up at the Shorebird Centre. However, some PSNZ members had arrived from as far afield as Christchurch.

As an introduction to the day, Judy gave an informative presentation on the thought processes around her work and some very generous hints on “playing” with the camera to facilitate the achievement of some, hopefully, stunning results.

Working at the seashore, amongst the bird hides, gave each of us ample opportunity to try different methods and settings in a safe and supportive

situation. As a group, we had vastly different levels of skill and experience, but the day was structured to work well for each of us. Judy had given a generous amount of information and insight during her introductory talk, along with sharing her work, and we were then supported whilst trying it all out for ourselves.

Three practical sessions during the day were interspersed with information, demonstration, and recommendation. Energy levels were kept high for the duration of the session with plenty of top-quality sustenance and encouragement from PSNZ Council member Caroline Ludford LPSNZ LRPS.

At the end of our time together, people were chatty and smiley, and they followed Judy’s example by sharing images and ideas – sufficient evidence of a great day

PSNZ Members' Webpages

Wedding, commercial and portrait work feature on my website, along with an Instagram link for my personal work.

https://www.jaydrewphotography.co.nz

I am a fine art photographer with a vision to create images that lie somewhere between photography and painting, heavily inspired by animals, nature, symbolism, emotion, and a touch of fantasy. Creating brings me a sense of peace and offers me a place to meditate on the beauty in nature. My highest goal is to convey that same feeling of serenity and magic to my audience, offering a window to a world where everything and anything is possible.

https://www.rebeccakingphoto.com/

Taron

Breen

I am a Waikato-based New Zealand photographer. I love the idea of being a storyteller through images, whether it is on a personal level or a professional level. I enjoy photography in many different genres including landscape, black and white, long exposure and macro, to name a few. I am very passionate about photography and thankfully I don’t have to be confined to just one particular area. While I have a preference for some areas more than others, I want to be free to explore all facets of this fine art.

https://taronbreenphotography.co.nz

Judy

My site shows galleries of my work and of my adventures, as well as introductions to my workshops.

https://judystokesphotography.com

Jay Drew APSNZ

Rebecca King LPSNZ

Stokes APSNZ

This site presents a collection of New Zealand landscape images, along with a handful of international locations.

www.beautifullight.nz

Chris Page LRPS

Pagespics is a record of street and travel photography. It has featured on Petapixel on a number of occasions and aims to inform, educate and entertain. As an international educator, I have travelled fairly extensively, and my images draw from experiences gained whilst living in India, China and Vietnam.

https://pagespics.com/

James Gibson APSNZ EFIAP/b

Collections of landscape images from around New Zealand and a link to a selection available as wall art prints to buy. Contact details for fine art printing of your own images, and (soon to be added) details of day and weekend workshops, talks etc. available to New Zealand camera clubs.

https://www.jamesgibsonphotography.com/

Sue Weterings ASPNZ

Sue is always exploring in photography and the opportunity it offers to meet and learn from others, share experiences and travel. Her portfolio reflects her love for travelling to unique places on the planet, landscapes, wildlife and people of the world.

https://www.sueweteringsphotography.com/

Robert Green

Notices

Corrections - Canon Online Photographer for 2022, Round 5

Sincere apologies to Karen Moffatt-McLeod APSNZ. The text for her 4th placed image in Canon Online Round 5 was incorrectly published in CameraTalk. It should have read:

4th Pretty in Pink by Karen Moffatt-Mcleod APSNZ

Your young model has done a wonderful job with an expression that really sets up the story. Her bright outfit yells, ‘Look at me!’ and then her brown eyes draw the viewer in. Now that she has our attention, her expression and the distorted reflection hint at something much deeper under the surface.

Corrections - NZ Camera 2022

We are currently aware of two errors:

• Page 7 should read Kōtuku Kelvin Aird

• Page 122 should read Prickly Fly Peter Allen.

Our sincere apologies for these errors.

FIAP Rescinds its New “Distinctions” Rules

By Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP - FIAP Coordinator

Having spent some time preparing for the changes to the “Distinctions” rules, and writing an article to explain them in the last issue of CameraTalk, I now find myself addressing the issue once again.

In December 2022 FIAP held its bi-annual congress meeting in Spain. The new “Distinctions” rules (due to come into effect in January 2023) were discussed at length by the FIAP liaison officers and the FIAP board of directors. As a result of these discussions, FIAP has withdrawn the whole document (31/2021 E).

This means for the next two years we carry on working with the document we have been working under for the last six or seven years document 11/2016 E. What does this mean for applicants now?

In 2023 (this year)

From 1 January 2023 there will be an exemption to the requirement for “print acceptances” as set out in document 011/2016 E but, if you do have acceptances in prints, then they will be counted. Reduced fees (€50 instead of €70 ) extend to the end of 2023.

In 2024 (next year)

From 1 January 2024, the requirements as set out in document 11/2016 E will apply, including the requirement for prints and fees of €70.

As always, if you want to know more about FIAP distinctions and how to go about applying for them, contact me at ajbastion@gmail.com.

Next FIAP Photo Meeting 2023

The next photo meeting will be held in Asturias, Spain, in June this year. As soon as I receive more details, I will let you know.

The 2024 Congress Meeting

This may well be held in India but, again, I will let you have more details as they come to hand.

PSNZ Canon Online Photographer 2022 Round 6 Results

By John Hawkins PSNZ Canon Online Coordinator

The Winner! Congratulations to Susan Henley, the winner of the Canon Online round 6 for 2022.

There were 95 entries in this round.

About Susan..

Firstly, thank you! I feel extremely honored! I started my photography journey back in 2018 when a professional photographer friend (David Watson) put me onto a Sony mirrorless entry level camera as I wanted something relatively small to take on hiking trips. Since then I've owned several Sony cameras and lenses but now use full frame. For the most part I learn photography through watching tutorials, reading books and the valuable critique at camera club.

My main passions are landscape and wildlife. I will often return to the same spot waiting for the right conditions or sit for hours in order to capture images that are unique.

Susan writes about the winning image:

This image was taken on the banks of the Wairau river in Marlborough, after heavy rain. I finished work and looked at the sky, I arrived at the site to find a sea of mud and silt instead of the little beach I had expected!

I quickly decided though, that this mud provided an excellent foreground to the still water with a developing sky, and after about eight long exposure shots I was rewarded. Luckily my gumboots were handy!

The judge for this round was Sheryl Williams APSNZ

My love affair with photography began at age 10 when I first picked up my grandfather’s Box Brownie camera and was allowed to take some photos. When I saw the images coming to life on the paper, I was hooked and have been ever since. At 15, I started out with a Kodak Instamatic, graduated to a little 35mm Hanimex before finally having enough money to buy my first SLR, a Pentax KM in 1977.

Marriage and children came along in my twenties so photography took a back seat for a while.

After completing an on-line course with the Photography Institute I joined the Howick Photographic Society in 2011. I have been on their committee since 2012, serving as President from 2014 to 2016 and again from 2020 to 2021. I gained my LPSNZ with prints in 2016, my APSNZ with digital in 2018 and my PSNZ judge accreditation in 2021.

It is an honour to judge this competition; for me judging is an opportunity to give positive feedback to help other photographers grow and embrace this wonderful art form that we all love. It also helps me in my own photography; taking the time to really read other people's images helps me to learn more about my own.

Judge’s comments

Thank you so much for the opportunity to judge this round; I thought the overall standard was very good. It was quite tough to whittle it down to just ten images! There were several other images outside the ten that were very worthy but…the rules say it has to be ten.

I enjoy all genres of photography and reading images is a real pleasure. I was looking for light play, story telling, creativity, different approaches, compositional strength that adds to an image and how they make me feel. I generally don’t get too caught up with technical issues if the image is strong enough to keep them minor.

This beautifully captured, restful landscape grabbed me from the outset; the lighting is superb with great depth. The composition works very well to give a nice balance of foreground interest leading my eye to the reflections, warm autumn colours and that stunning sky. The colours and sharp detail are lovely throughout and I feel that I am there enjoying this. Well done.

1st - Sunset on Wairau by Susan Henley

3rd - Born to Fly

by Deborah Martin APSNZ

This has been well captured, a pleasing spread of the bird's wings and tail showing all the detail of its body; nicely placed in the frame with room on the left to move into. The square crop suits the subject. All the elements are working nicely here with great detail and sharpness in the bird. I like how it is looking right at the photographer. The background is subtle and supports the bird nicely.

2nd - Catch Me if You Can by Allysa Carberry APSNZ

This image appealed to me for the great story telling and composition with the focus on those little boys trying so hard to catch up; the expressions on their faces is wonderful — especially the boy with the ball — what a smirk! Good depth of field. The nicely supporting, blurred background gives context with the parents or coaches telling a nice story of nipper rugby. An enjoyable capture, good sharpness, colours, lighting and detail.

Oh my gosh, those eyes and that smile! They just draw you in. Great lighting and DOF. I like how the author has gotten in close to give us detail of her makeup, jewellery, costume and tattoos to give context about her culture. Her arms are framing her face nicely. A vibrant, sharp, well composed image of a beautiful woman. Nicely blurred background helps her to stand out.

I love the action here; the panning technique has been very well handled giving a strong impression of a close finish! I can just feel the tension. The horse on the right is sharp where it needs to be, giving a pleasing composition and a sense of a fast paced race. Very well done.

4th - Mamta from Pushkar by Lia Priemus

5th - Morning Racing by Janice Chen APSNZ

- Beothuk is My Tribe

I get a strong feeling of wisdom and calm here. What a striking capture of this gentleman; I love his expression. The detail in his clothing and head-dress is superb and gives good context about his culture. Beautiful lighting has brought out depth and strength to his face. I think the background has enough detail and blur to be interesting and supportive. A lovely feeling image.

These horses are majestic, what a great story. The composition is good, focussing just on the horses and driver. The low perspective gives an impression of power and strength, and the slight blur in their hooves adds a dynamic element showing them hard at work. The muted background is nicely supporting with the other team giving context. I like how the judges are framed by the left horses legs.

6th

Anita Ruggle-Lussy

7th - The Turn Eunice Belk LPSNZ

8th - Own Mind by Sheree Davidson LPSNZ

I really enjoyed this image, the story and the creative thought gone into it. The lady’s expression does give me the impression that she is not to be messed with, standing out from the crowd! Great lighting and well composed. I don’t mind the central placement, it works well here. Good sharp detail.

9th - Ice Bubble Struggling to Form by Wendy Pemberton

I found the perspective and simplicity of this image very appealing and the low perspective shows not only the ice bubble but the frosty ground around it. The lovely coloured blurred background is nicely supporting the bubble with its beautiful, delicate detail. The subject is well placed in the frame and nicely backlit. This image has a nice dreamy, otherworld feel for me.

10th

This image appealed to me because of the times I have been on a boat watching the play of the ripples. It is so relaxing and thats the feel I get here. I think the main subject of the ripples works well with the lovely, warm monochromatic bush tones supporting the scene nicely. I enjoy the inclusion of the little boat which helps the eye to rest in this lovely scene. Nice, subdued lighting.

- Cruising the Gordon River by Catharina Mail

Six years

as New Zealand’s Most Trusted Digital Camera Brand.

Canon Online end of year report 2022

By John Hawkins PSNZ Canon Online Coordinator

Summary

PSNZ Canon Online continues to be a popular competition for PSNZ members. Coordination of the competition was handed over from Paul Willyams to John Hawkins during Round 2 this year.

The number of authors participating was down a little from last year; any suggestions on how to grow the number of PSNZ members participating would be appreciated. The number of entries in each round was fairly consistent, with the exception of two rounds, and 25% of authors entered all six rounds.

Statistics

Round winners:

Each winner received a PSNZ Canon Online trophy and Canon will send each winner an A3 size print.

Top Ten

Each round had ten entries awarded to be in the Top Ten. A total of 44 authors were selected in the top ten (17% of participants) and of those, ten made the top 10 twice, and three made the top 10 three times. This indicates that a small group of authors who entered most, if not all, rounds, were the most successful but not necessarily dominant.

Aggregate Winner

Barbara Lee APSNZ is the winner of the PSNZ Canon Online Photographer of the Year with 26 points.

Judges

All judges provided constructive feedback, both in general and for the top 10 images. Although all judges noted that selecting the top ten, from large numbers, was not an easy task, they all returned the results promptly. One judge was unable to participate in the competition but provided plenty of advance notice for a replacement to be found.

All judges were accredited PSNZ judges. The judges for this year were:

Round Judge

Round 1

Round 2

Round 3

Round 4

Round 5

Round 6

Administration

Paul Byrne

Tony Gorham

Elizabeth Passuello

Karen Lawton

Ian Walls

Sheryl Williams

After picking up the reins from Paul during round 2, I set about streamlining the process to fit my capabilities. Like Paul, I use bulk emails, plus I incorporate mail merge to provide individual content when notifying entrants of the results.

I also use the PSNZ Facebook page to post reminders and have set up reminders through mail merge emails which includes an update of their overall points for the year. The JotForm system is generally smooth and straightforward. There are however a number of authors entering two or more entries in a competition. I started out notifying the authors but stopped doing so due to the numbers. Occasionally, images haven’t been attached to entry in the zip file. I have contacted the entrant when this was just one in a round but have had to ask Toya to check when there were more. The format of column H in the excel file can prove a challenge when removing all the illegal characters but is the only onerous task. Sometimes the author incorrectly enters their email address and or name. It would be great if the entry system could be linked to the PSNZ member database to provide the name, email and honours accurately. This is important because it ensures that the author's aggregate is accurate, and not split over 2 or more similarly named authors. Now that Canon have agreed to sponsor the competition again for 2023, I will start approaching judges. I note that the entry forms are open on the website.

It’s great to see that Canon have offered to send all 2022 round winners an A3 size print. I have provided all the details and images to Aston Moss for processing.

John Hawkins, PSNZ Canon Online Coordinator

HELPING PHOTOGRAPHERS GROW