Janet Munnings m. 022 163 0379 e. secretary@photography.org.nz
EDITOR & ADVERTISING
Paul Whitham APSNZ m. 021 644 418 e. editor@photography.org.nz
SUBEDITOR
Lindsay Stockbridge LPSNZ t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz
NEXT CAMERATALK DEADLINE
25 March 2025
Email your contributions to the Subeditor. Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned.
The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ.
On the cover: Glen Thomson shot at the Painterly Landscape workshop. See the full story on page 56.
We're still asking !
CameraTalk is the official magazine of the Photographic Society of New Zealand (PSNZ), largely written by members of PSNZ, for anyone with an interest in photography to enjoy and learn from.
The editorial team welcomes any contributions from members of PSNZ or affiliated clubs. If you have something to promote, or celebrate, we would love to hear from you.
Also, if you have ever wanted to write something for a magazine, then this is your chance. In this issue there are two such pieces.
If you would like to contribute, contact either Lindsay (dilinz@ actrix.co.nz or myself (editor@photography.org.nz) and we can help you out.
Please also note that we would love you to share CameraTalk with anyone with an interest in photography. You can find the current and previous issues at https://photography.org.nz/events-andpublications/cameratalk/
Regards
Paul Whitham APSNZ Editor
President's Piece
By Caroline Ludford LPSNZ ANPSNZ LRPS
As we step into the New Year I am very happy to inform you all that the PSNZ Council members have been working hard over the festive period and into 2025.
It’s now time to revitalise our creativity, set fresh goals, and embrace the endless possibilities that photography brings. There’s no better way to kick off this exciting chapter than by looking forward to PSNZ’s National Convention in Nelson, this May.
Nestled at the heart of New Zealand’s stunning landscapes, Nelson offers a spectacular backdrop for a convention that promises to be inspiring, educational, and packed with opportunities to connect. Here’s a glimpse of what’s in store:
• Inspiring Keynote Speakers: Learn from industry-leading photographers as they share insights, techniques, and stories that will energise your creative journey. Sean Tucker and Tim Booth are both flying in from the UK to share their craft with us.
• Hands-On Workshops: From mastering the art of portrait photography to an introduction to fungi, capturing wildlife images and the road to honours (to name just a few), our workshops cater to photographers of all levels and interests.
• Exclusive Photo Opportunities: Explore the stunning natural beauty of the Nelson region, from its golden beaches to its lush national parks, with pre-convention excursions available and designed to get you the perfect shot.
• Exhibition: Celebrate the diverse talent within our community and find inspiration in the incredible work on display at the SONY NATIONAL EXHIBITION and the Interclub Salons.
• Networking and Community: Connect with fellow photographers, share ideas, and build relationships that will last long after the convention ends.
• Come celebrate the successful members who attain their Honours.
As the new year begins, it’s the perfect time to reignite your passion for photography. The National Convention is more than just an event – it’s an opportunity to reset, recharge, and immerse yourself in the art and craft of photography. Whether you’re looking to refine your skills, learn something new, or simply enjoy the camaraderie of like-minded creatives, Nelson is the place to be.
Mark Your Calendar!
The convention will take place from 1 to 4 May, and registration is open now. Don’t miss out.
Let’s make 2025 a year to remember for your photographic journey. We can’t wait to see you in Nelson for what promises to be an unforgettable convention.
Salon News
from Councillor for Salons: Annette Johnston FPSNZ
SONY National Exhibition 2025
This is a last-minute reminder that the SONY National Exhibition entries will close at 5.00pm, 22 February 2025. Please note that If you are entering prints, these must be in the hands of the print entry secretary, c/- 19 Angelus Ave, Richmond 7020 Nelson by 22 February 2025.
To enter please go to the PSNZ Website, Salons & Galleries – PSNZ Sony Exhibition.
The PSNZ SONY National Exhibition is a great opportunity for photographers to showcase their work, so please do consider putting in some of your images. If anyone has questions about the entry conditions or the exhibition itself, they should reach out to me for more details.
Annette Johnston psnzsalons@gmail.com
PSNZ National Interclub Competitions 2025:
Entries for this competition will also close at 5:00pm on 22 February 2025. To access the Interclub Entry please go to the PSNZ website, Salons & Galleries – Intercub Competitions
Key Dates for the Diary
February 22
February 28
March 1
March 14-16
March 31
April 1
April 18
April 26
May 1
May 1-4
May 15
Entries for PSNZ Sony National Exhibition close
Entries for PSNZ Interclubs close
Submissions for Honours close
Submissions for New Zealand Camera 2025 open
Creative Portraiture Workshop with Shelley Harvey BPSA
Registrations for National Convention close
Submissions for New Zealand Camera 2025 close
Entries for the Whanganui Biennial Salon open
Entries for North Shore Salon open
Entries for the Whanganui Biennial Salon close
Entries for Māwhera National Salon of Photography open
70th National Convention, Nelson
Entries for North Shore Salon close
May 17-18 Mushroom Macro Masterclass with Lee Ormsby Andriksen
May 23-25
May 31
Instilling Emotion via Photoship with Helen McLeod FPSNZ
Entries for Māwhera National Salon of Photography close
Welcome to Our New PSNZ Members!
Anne Simpson
Ashok Kochhar
Becky Wray
Caelyn Daughney
Cassandra Robinson
Chris Moselen
Chris Shadbolt
Dave Rodgers
Denice Midgley
Dorothy van den Hoven
Emily McGowan
Harald Hochmann
Jan Bone
Jeff Mein Smith
Jennifer Kim
Juan Pablo Vasquez
Justin Marshall
Karen Kendall-Jarvis
Kevin Riley
Leah McAneney
Leanne Buchan
Lesley Cornish
Maria Sainsbury
Paul Webster
R Roberts
Robert Scotcher
Shelley Lewis
Siobhán Costigan
Steve Banks
Sue Titmuss
Suzanne Marsh LPSNZ
Swenja Bertrand
Wayne Rickard
William Ward
Yolande Knoesen
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*Among interchangeable-lens digital cameras as of November 2023.
Letter to the Editor
Sir,
In the last CameraTalk, I found Annette Johnston’s article on the AI policy both informative and interesting. It explained the policy well and provided good examples of its impact. However, I fundamentally disagree with the policy and would like to offer an alternative perspective – a “letter to the editor from a grumpy old man,” if you will!
My objections are threefold:
1. Making this a broad policy rather than a rule for specific competitions stifles future innovation.
2. Excluding those who use new techniques is not the way to remain inclusive and relevant to all photographic artists.
3. The policy effectively bans new and powerful tools in the Adobe software suite. While Adobe doesn’t rule photography, I believe this stance is shortsighted.
I think anti-AI sentiment is largely driven by fear – fear that technology will enable falsehoods to be passed off as “photographic truth,” or that “misrepresented truth” might win competitions. But this is nothing new.
The saying “the camera never lies” has always been problematic. Today’s concerns about AI echo the backlash against Photoshop in the early 90s, when photographers resisted new techniques that weren’t possible in the darkroom. Now, the concern revolves around “content not optically captured by the author”.
Like it or not, AI is here to stay, and I believe it’s not our society’s role to dictate the future path of photography.
The low number of younger photographers in our society is troubling. Young creatives won’t hesitate to use any tool available to make their artistic statements. Telling a millennial creative that Generative AI is banned will likely be met with laughter. For me, this policy document is a nail in the coffin for PSNZ’s relevance.
The policy’s rigid focus on “pure optical capture” overlooks the nuanced reality of modern photography. It treats the issue in black and white, when the real world is shades of grey.
I suggest defining photography as “an art form based on optical capture,” which would allow for technological enhancements while preserving its essence.
Practically, I struggle to understand the policy’s aim. Cloning or incorporating parts of a second image to remove distractions seems acceptable yet using the Generative Remove tool results in disqualification. To me, beyond philosophical debates, there is no real difference between these techniques.
I propose revising the policy to state: Generative AI techniques, either during the capture process or in post-production, are not to be used to produce major new pictorial elements.
I recently watched a presentation by Julieanne Kost, who described herself as a “Lens Based Artist” and used Generative AI in her composite image-making. It saddens me that our policy would ban the work of someone as respected as Julieanne.
Ian Walls FPSNZ
Disclaimer: I used ChatGPT to assist in writing this letter. While the wording was framed with technological help, the thoughts are entirely my own. I refuse to refrain from using Generative AI techniques for the same purpose.
Response from Council
The editor received the above letter regarding the PSNZ AI policy from member Ian Walls FPSNZ.
In response, the PSNZ Council would like to say thank you to Ian for sharing his thoughts and taking the time to put together his opinion. The PSNZ Council holds a different viewpoint. The policy remains in place for all PSNZ-run salons and competitions only. Using generative AI in any other competition or for your projects is a personal choice.
Thank you for your continued engagement.
Warmest regards Caroline
Caroline Ludford LPSNZ ANPSNZ LRPS PENZ President
New Zealand Camera – Making the Cut!
A
few tips and tricks to improve your chances of having an image selected
By James Gibson APSNZ EFIAP/b
Ever since joining PSNZ and receiving my first complimentary copy of New Zealand Camera, one of my personal yearly goals has been to have an image selected for the publication. Like many of you I wait with baited breath for the email, nervously hoping that something I’ve submitted will make the cut. Some years I’ve been successful, and some years well, less so. I like to flatter myself by thinking that my images just didn’t fit with the overall aesthetic that year, but in looking back at what I’ve entered over the last decade, some of my past choices may not have been the shining examples I originally thought! I was surprised and honoured when in late 2022 I received a phone call from Past PSNZ President Paul Whitham APSNZ, asking if I would join the selection team for the following year, and I eagerly anticipated looking through the works from so many members.
From the outside, the selection and curation process appears remarkably simple, and was described succinctly by Paul Whitham APSNZ in an August 2023 CameraTalk article.
Well, to some extent it is simple. We are working with the images that you (the membership) submit for that year’s publication, and we’re not editing anything that is submitted. Note that on some occasions we may request that an image be flipped or similar, to suit a certain pairing, or it may be cropped if selected for the cover, but that’s pretty much the limit; we’re trying to curate your work. Every image in the publication deserves to be there, and the only reason your image might be at the start, middle or end of the book is that it seems to us (the curation team) to make sense to put it there, given what else comes before and after.
And that’s where it starts to get complicated – the vast array of genres, photographic styles and editing processes, that we all use, need to sit harmoniously together, trying to create flow and avoid any jarring clashes in the rhythm of the book.
Unsurprisingly, good photographers tend to submit good images, meaning that our initial selection often includes both images submitted by one photographer. Filtering these out, picking the one that works best with other images and making the book flow seamlessly, can be quite the iterative process.
The vast majority of images we look at these days are viewed on social media platforms, often using mobile phones. My phone has a bright, vibrant display, and fits neatly in my hand. The likes of Facebook, Instagram and Whatsapp (for example) hugely compress images to very low quality, though they still look fine for the few seconds we bother to view them.
Each page of the hardbound book New Zealand Camera is approximately 25 cm x 24 cm, approximately six times larger than my phone.
It’s not back-lit, and we can sit and enjoy the images at our own pace, poring over every subtle detail. This puts a very different demand on the image quality and finessing required. In this article, I will try to highlight some of the pitfalls and issues we encounter, and maybe point out some things to consider when selecting the images.
1. Technical
There are myriad technical issues that we as creators of photographic art have to deal with – lens distortion, fringing, noise, jpeg compression, moon blur, specular highlights, dynamic range, cloning, stretching and layering issues, dust spots, blocked blacks and blown highlights, the list goes on. It might feel that this digital age has created more problems to fix, but the whole concept of post-processing is nothing new, it’s just that now we process on a computer rather than in the darkroom. The nice thing about almost all these issues is that they can be resolved with some simple checks.
Purple and green fringing
Use the lens correction and “remove chromatic aberrations” function when you start editing. This is such a simple fix, and can simultaneously remove other lens effects like vignetting and minor distortions.
Dust spots
Check your image for dust spots – especially important when working with ICM images, very narrow apertures or extreme bokeh effects, as the little spots seem to breed like rabbits. Some programs like Adobe Lightroom have a “find edges” effect that can help identify dust spots but very little beats a slow, thorough scan across the whole image at 100%. Some spots can be created by lens or filter issues, and aren’t immediately obvious as
the little dark circles we expect.
Also, some processing techniques that enhance contrast (e.g. some NIK filters) will bring out dust spots that weren’t originally visible.
Halos
There are two main ways that halos are created in our images.
1. Over-sharpening. This tends to create very narrow white lines around objects, such as birds’ feathers or the edge of a sharp subject. Keep an eye on how much you’re trying to sharpen an image and don’t rely on Topaz or Adobe AI to fix this stuff for you – they can be the original culprit.
If this image isn’t sharp enough straight out of camera, maybe it’s not right for high-quality prints. Use the sharpening tools, and also try to make sure they’re only sharpening the bits you want. (The sharpening mask tool on Lightroom is great to stop it from sharpening *everything*.)
2. Lightening shadow areas of images, for example, tree-clad hillsides with brighter skies behind. Using a mask and a soft brush (or using object selection methods and auto-masking) often ends up spilling over into the brighter area, creating a halo. Leaving space along the edge of the mask (think painting “inside” the lines) with not all the object brightened can be much more effective than “painting over the lines”.
Image quality
Make sure you’re editing a full-size version of your image, ideally the original file. It might seem safer to save copies and edit them, then save new copies and edit again, but it can easily degrade the image through compressing the file – especially if you crop to a small image and then try to scale it back up. Just don’t do it.
Use non-destructive editing methods and export copies at high quality. Luckily, most of us using Adobe Lightroom or equivalent will be working non-destructively, but for those who aren’t sure, there are plenty of tutorials online that explain it well, so I’d recommend “a bit of me” on Google. (Here’s a starting point: https://youtu.be/ MrkPoX6Tlik?si=WeUOQel6ro5D1Loq)
When you finally come to export your image, pay attention to the dimension requirements set out in the submission form, the colourspace required (and check that the export quality is at 100%).
Exposure
Check your image on a *calibrated* monitor, set at an appropriate brightness. If you’ve not worked with calibrating monitors, talk to your local camera shop or other club members and seek some advice. Consider asking to look at your image on their screen, so you can have confidence we will be viewing the image as you intended. You can also consider making test prints yourself and then adjusting your screen to match the print. There are sample calibration images you can download from the PSNZ website, in the members area (htps:// photography.org.nz/calibration-images/)
2. Composition
Horizon
If the image has a horizon (or is perceived to have a horizontal feature), please make sure it’s horizontal! Canted frames and deliberately offset horizons can work well to create dynamic images, but a slightly sloping sea is very distracting!
Edge distractions
Look round the edges of your image and make sure there’s not some extra element breaking the frame that might pull the viewer’s eye away from the main element(s) – cloning or re-cropping is absolutely fine here.
Aspect ratio
Any and all aspect ratios are acceptable for submission, so feel free to enter anything you like. Just remember: the image will be printed on a white page approximately 25 cm x 24 cm. If your image is a very long, thin panorama it won’t make use of much of the page (if it’s 4:1 aspect ratio, the final print will be less than 50 mm high), small details can be difficult to enjoy, it leaves a lot of white page, and it can be hard to pair with another image.
On a related note, if you add a white border around your image, this will effectively just reduce the print size, so think carefully before doing this!
3. Genre and style
Whilst there is a vast array of photographic topics in our world, the flow of New Zealand Camera is helped by grouping together similar images, either by colour, topic, or in some cases aspect ratio. If you flick through any copy in the last few years, or any recent competition catalogue, you’ll notice that some common themes appear: monochrome, triptych, landscape, natural history, photojournalism, macro, abstract, still life and portraiture, for example.
The over-riding characteristics of all the images in the book are their high technical skills and emotive impact, so that’s a high bar to start, but some excellent images still don’t make it in. Here’s a couple of pointers as to why some might not have been selected:
• “Prior Art”. Some subjects have been shot in very similar ways before. Each image on its own may be exceptionally good, but if it’s the same location we’ve seen before, then your image’s impact factor may be reduced.
• Briefly singling out Natural History: New Zealand is considered the “seabird capital of the world” and we have many forest birds that are not seen anywhere else in the world. Some are easier to get close to than others and this results in many photographers submitting images of the same species. Think carefully about what you submit as the publication will try to show diversity and excellence.
NZC 2021 Statistics
• Breaking away from the norm is a great way of showing creative talent, and helps create a publication that highlights the uniqueness of New Zealand photography. Just remember that the image needs to work for the viewer; technical creations or excessive use of a filter/process (e.g. HDR) without a strong composition may not be enough to create a lasting emotional impact.
One brief point regarding AI. Many excellent articles have been written on the subject recently, including in CameraTalk. The New Zealand Camera selectors (and most other photographic competitions) don’t have the ability to check on the authenticity of an image; we are somewhat reliant on the ethics of the photographer who submitted the image.
If the material didn’t originate from your camera then you shouldn’t be entering it! Feel free to submit the images into Deviantart or another digital art environ, but its eligibility in a photographic arena is highly questionable.
Summary
Have fun – enjoy looking at your own images and concentrate on that last “attention to detail” step, as if you were looking to buy the image to hang on your own wall. I’m being partially selfish in writing this article; I enjoy looking through the hundreds of submitted images and I want to have more wonderful artwork to view! After all said and done, remember there is a fixed number of pages in the book and that’s what defines the number of images we select. Hopefully we can all take pleasure in enjoying the beautiful works of our peers, regardless of whether our own image was selected this time.
Purchase a new Epson SureColor P706 printer between 13th January 2025 and 31st March 2025. Eligible Printer Model*
Capture the Magic - at the PSNZ 70th National Convention!
The countdown is on for the 70th PSNZ National Convention, and this year the stunning region of Nelson serves as the perfect host for four days of photography, creativity, and connection from 1 to 4 May 2025. Whether you're a seasoned professional or just starting out with your camera, this convention offers a wealth of opportunities to expand your skills, explore new techniques, and immerse yourself in the inspiring world of photography.
One of the most highly anticipated aspects of the convention is undoubtedly the incredible field trip programme, designed to showcase the beauty, history, and culture of Nelson and its surrounds. From lush native forests to picturesque gardens, rugged coastal landscapes, and even industrial heritage sites, there’s something for every photographic taste. If you’ve been on the fence about attending, let’s explore just how this convention can ignite your creativity and elevate your craft.
Fieldtrips
At the time of writing the following field trips to inspire every photographer are still available
Higgins Heritage Park
Step into a world of industrial history at Higgins Heritage Park. This unique location offers a chance to photograph historical machinery, vintage vehicles, and tools from a bygone era. The textures, lines, and intricate details of the equipment make for captivating industrial photography. Whether you prefer moody black-and-white images or vibrant close-ups, this trip will challenge and excite your creativity.
Isel Park and Broadgreen House and Gardens
Experience a photographer’s dream with this combination of historical architecture and stunning gardens. Isel Park boasts majestic trees and colourful flower beds, while Broadgreen House offers beautifully preserved heritage interiors and manicured grounds. This trip is perfect for photographers interested in symmetry, nature, and the interplay of old and new.
Cable Bay Rotokura (Quad Bike Tour)
For thrill-seekers and action photographers, this is the ultimate adventure! Strap on your camera and hold tight as you explore rolling farmland, dramatic hill-scapes and stunning coastal views, on a guided quad bike tour. Not only is this trip a visual feast, but the adrenaline-fuelled experience will inspire your most dynamic shots yet.
Waimea Estuary Cycle Tour
For those looking to blend some exercise with photography, the Waimea Estuary Cycle Tour offers a chance to capture coastal wildlife, scenic inlets, and the shifting light on the water. With the rhythm of the ride guiding your journey, you’ll have ample opportunities to pause and compose breathtaking shots. This tour is ideal for photographers who thrive in ever-changing natural environments.
Founders Heritage Park and Miyazu Gardens
Step back in time as you photograph charming heritage buildings at Founders Park, then shift gears with the tranquility and elegance of Japanese design at Miyazu Gardens. This double location offers a wealth of photographic contrasts, from rustic textures to vibrant floral arrangements.
Car Museum
Are you a fan of gleaming chrome and vintage vibes? The Classic Car Museum is the place to indulge your passion for all things automotive. Capture the details of these beautifully restored vehicles with precision and creativity, and leave with images that truly pop.
"Getting Lost" in Nelson (Self-Guided Walk)
For the ultimate in freedom and flexibility, embark on a self-guided walking tour through Nelson. With no set itinerary, you can let your curiosity and creative eye guide you to hidden gems, local street art, bustling markets, or serene urban escapes. It’s the perfect way to connect with the city and hone your ability to spot unique compositions.
Beyond the Field Trips: A Full Photographic Feast
While the field trips are spectacular, they’re just one part of the convention’s drawcard. Even if your preferred trips and speakers are fully booked (and they’re filling fast!), the convention is packed with experiences that will leave you brimming with inspiration.
World-Class Speakers and Workshops
Prepare to be captivated by Sean Tucker and Tim Booth, our keynote speakers who will share their unique perspectives, techniques, and insights into the art of photography. Both are renowned for their ability to tell compelling visual stories, and their presentations are not to be missed.
Tim Booth
Sean Tucker
Networking and Camaraderie
Photography can sometimes feel like a solitary pursuit, but conventions like this remind us of the vibrant community that surrounds our art. Connect with like-minded individuals, share your experiences, and build friendships that could last a lifetime. The energy of being surrounded by people who share your passion is nothing short of invigorating.
Joined by Jonathan Harrod and Janyne Fletcher, combined they offer an inspirational line-up. This is your once-in-a-lifetime chance to hear these amazing artists speak. So plan ahead. Book your flights to Nelson in May for the 70th PSNZ National Convention.
In addition, workshops will cover a variety of topics, from portraiture and lighting to postprocessing and creative editing. These sessions are tailored to photographers of all levels, so whether you’re looking to polish your skills or learn something entirely new, there’s something here for you.
Exhibitions and Competitions
The convention will showcase some of the best photography from across the country, with stunning exhibitions that highlight the talent within our community. Don’t miss the opportunity to see how your fellow photographers interpret the world through their lenses and perhaps submit your own work for feedback and recognition.
Why You Can’t Miss It
Time and time again, attendees of the PSNZ National Convention report leaving not just with new skills, but with renewed enthusiasm for their craft. It’s a chance to immerse yourself in a supportive and inspiring environment, where your passion for photography is not just celebrated but elevated.
And let’s not forget Nelson itself, a region renowned for its breathtaking landscapes, rich artistic culture, and welcoming community. This is your chance to explore a photographer’s dream destination while growing as an artist.
Janyne Fletcher
Jonathan Harrod
Don’t Wait – Register Now!
Field trip spaces are limited, and workshops and speaker sessions are filling up fast. Don’t miss out on this incredible opportunity to fuel your passion, meet inspiring creatives, and capture the magic of Nelson.
Visit the National Convention website today to secure your spot. Whether you’re diving into the field trips, attending workshops, or simply soaking up the creative atmosphere, the 70th PSNZ National Convention promises to be an unforgettable experience.
We can’t wait to see you there!
Councillor profiles: Vice-President Aston
Moss LPSNZ
Me, the person:
Basically I'm a husband, father to three awesome kids (albeit two are adults, but still awesome) and work full time as the Chief People Officer for a retail company. Alongside that I do some volunteer work as a Justice of the Peace and a couple of other organisations. A lifelong learner, I'm about to kick off some further tertiary study which is part of the reason I won't be standing for Council again in 2025.
Anyone wanting to see more of my images will find me on instagram as 'astonishing_kiwi' or at my website www.astonish.co.nz (what else are you going to call it when your name is Aston???)
How did you get into photography and how long have you been doing it?
I really got into photography about 15 years ago and made what turned out to be a great choice in joining my local camera club. That was the now defunct Eden-Roskill club. In joining the club it gave me confidence to put images forward for critiquing, exposed me to a much wider range of genres than I'd seen before and challenged me to produce images with some degree of frequency – something that is key to improvement.
I'm very thankful for the contributions that so many people have made to my development as a photographer – some through Eden Roskill, some PSNZ and more recently through my joining and learning from members of the Auckland Photographic Society.
I complemented my practical learning with completing a Diploma in Digital Photography through Southern Institute of Technology in 2016 and was fortunate to be awarded my Licentiate through the PSNZ Honours system in 2020.
What do you shoot and what attracts you to that genre?
I describe myself as "genre fluid" – I don't have a single genre in which I specialise as I like to experiment and dabble both in terms of the images I take and the ways in which I process them. My photography can be as much about what's in front of me as it is something I'd go out looking for.
Having said that I enjoy architectural photography, drone photography and have a penchant for black and white. Like many parents, I take a lot of images of (sports) football over the winter months! Warrior
In February 2024 I was able to travel on a long awaited photographic tour to Antarctica led by YouTube sensations Nigel Danson, Mads Peter Iversen and James Popsys. They, along with the other professionals leading the tour were a great bunch of people to hang out with and given it was such a small group (there were only about 85 guests on the boat) there was plenty of opportunity to get to know everyone, learn about Antarctica, and photography. I captured thousands of images over the 2 week trip and have finally whittled it down to my favourite 300 images from this incredible place on earth. Still more work to do there!
Where you would like to see your photography go?
This year is about getting to experience and capture the sights of Svalbard. Svalbard is a small archipelago about 81 degrees north (think heading towards the Arctic circle). I've long wanted to see and capture images of polar bears and puffins. This is the opportunity.
I'm also keen to build on my personal project "A Sense of Place" which is a set of aerial images of places which are meaningful to me and provide an uncommon perspective given that they are all taken using drones.
They are set around the Auckland coast and each image I have created so far consists of about 60 individual photographs to create the highly detailed panoramic prints. It's amazing what you can capture with a relatively inexpensive drone. I have a DJI Mini 3 Pro.
Sondering - Antarctica
Upside
A sense of place - Westmere
My passion for these types of images was a key motivation to get my Part 101 certification in 2024. Given I work full time in a fairly busy role and have a number of other professional and personal commitments I often struggle to get the trifecta of time of day, tides and wind to align with my availability to go out and shoot.
Alongside that I'm keen to keep building my skills and image library with architectural photographs and am already working on a list of places and buildings I would like to travel to and explore photographically. Maybe at some stage I'll feel I have the skills to build a portfolio to go for my Associateship but other demands on my time mean this is an idea rather than a plan at this stage.
A sense of place - Auckland
Prenager
What am I proudest of since I joined Council?
It's hard to pick one thing as I'd like to think I've been a good team player and tried to contribute beyond my assigned portfolio of Trade Partnerships with things like MC'ing at the last couple of conventions.
I've enjoyed building on the work of my predecessors with the Trade Partners portfolio. Our Trade Partners, along with being an important source of financial support for PSNZ, are all really great people, often photographers in their own rights and are totally committed to supporting a flourishing photographic community in NZ.
If my time on Council has meant that these relationships have been sustained and nurtured, then I'm happy I have played a positive role. Equally I know our Trade Partners and the Trades portfolio are in great hands with Chris Blincoe LPSNZ having taken over this portfolio. Chris is an outstanding guy, with superb people skills as well as being a talented photographer in his own right.
In the last year of my term, I've been fortunate to work alongside Caroline as her Vice President and this has meant being involved in discussions about what we're doing, how we're going and some of the challenges that inevitably come as part of a member-based organisation where all of the workers are volunteers.
I take my hat off to all of the people who have served as Councillors and particularly those who have taken on the role of President. That role in particular is incredibly time consuming, pretty thankless, and without the labours of these individuals, we wouldn't have a PSNZ. If I could make one plea it would be for more people to step up and help shoulder the load. I'm grateful Caroline chose me as her VP and I hope I have provided her with the support she deserves given the fantastic work she is doing to advance PSNZ's interests.
FOR THE VISIONARY STORYTELLERS
Lou Burton
X-T50
Exciting PSNZ Workshops: Unleashing Creativity in 2025!
By Mark Burgess APSNZ
Get ready to dive into an extraordinary lineup of workshops this year, designed to ignite your passion for photography and elevate your skills to new heights. The PSNZ Workshop Series 2025 is brimming with opportunities for photographers of all levels, offering a diverse range of topics, hands-on experiences, and insights from some of the most talented photographers in New Zealand.
Our workshops team has been hard at work, bringing back favourite workshop leaders from 2024 along with plenty of new talent. This year, Neville Harlick has joined our team (Mark Burgess, Jayne Parker and Nicole Tai LPSNZ) and is leading the introduction of online workshops. Look out for these in your in-box shortly!
Learn from the Masters
We’re thrilled to announce that several new workshop leaders are joining our programme for the first time in 2025. Please join us in welcoming Shelley Harvey BPSA, Lee Ormsby, Ted Grenfell, Rachel Gillespie, Leanne Silver and Tracey Scott FPSNZ AFIAP GMNZIPP. Each brings a wealth of knowledge and a unique perspective to our community. Their workshops promise to be inspiring, informative, and transformative experiences you won’t want to miss.
• Shelley Harvey: Creative Portraiture Beyond the Lens. This workshop will take you on an artistic exploration of portrait photography and post-processing. We will dive into innovative and creative techniques to help you achieve original, creative images.
• Lee Ormsby: Mushroom Macro Masterclass. Lee is a master of mushrooms. We will cover the best techniques for capturing perfect images and utilise these in two field trips.
• Rachel Gillespie: Wild West Coast. South Island born and bred and with a great passion for landscape photography, she’s the perfect person to guide us through her backyard to more magical locations.
• Leanne Silver: Blue Duck Station. Leanne photographed for the book on this remarkable high country station and is excited to share a weekend of exploration with you.
• Ted Grenfell: Capture the Extraordinary – Steampunk Photography in Oamaru. This workshop will provide a unique collage of street and portrait genres with inside access to the Steampunk events.
• Tracey Scott: Creative Portraits. We will use her fabulous Victorian mansion and a household of props to create enchanting portraits
Mark Burgess
In addition, we will welcome back some favourites from previous years!
• Meghan Maloney: Autumn Landscapes. This time Meghan will lead you on a quest for the autumn beauty of Hawke’s Bay.
• Peter Rees: Painterly Landscapes. Peter sees the world through the eyes of a painter and applies his deep art history knowledge to inform your vision and processing.
• Helen McLeod FPSNZ GPSA ARPS: Evoking Emotion with Photoshop. Helen is a master of landscape and shares how the magic of photoshop can unlock the emotion you felt in the field.
• Eva Polak: Impressionist Photography. A practical weekend, using Eva’s extensive library of techniques that create compelling images out of everyday subjects.
We understand that not everyone wants to travel, so we are investing in on-line workshops intended to be easily accessible. Details will be posted soon but here is a taster:
• Judy Stokes APSNZ: Intentional Camera Movement
• Paul Byrne FPSNZ ARPS AFIAP: Street Photography
• Helen McLeod: Aspects of Photoshop
• Noelle Bennett APSNZ: Flora, Fungi and Lichen
Hands-On Learning and Practical Experience
At PSNZ, we believe that the best way to learn is by doing. That’s why our workshops are designed to be highly interactive, providing ample opportunities for you to practise what you’ve learned. Whether it’s a field trip to a breathtaking location, a studio session with professional models, or a critique of your images, you’ll gain valuable hands-on experience that will boost your confidence and skills.
Ready to Join Us?
Don’t miss out on this incredible opportunity to learn, grow, and be inspired. Check out the full lineup of workshops on our website and secure your spot today. We can’t wait to see the amazing work you’ll create in 2025!
Michael Bradley
Whanganui Camera Club’s Year-long Project - Recording life in Whanganui
By John Smart APSNZ and Vivienne McLean
New Year’s Day saw the start of an ambitious year-long project for the Whanganui Camera Club – photographing daily life in our city throughout the whole of 2025.
Our objective is to capture images of people and scenes from everyday life and local events in settings that are recognisably “Whanganui”. We expect club members will be out and about most days during 2025, photographing the people, activities and places that make Whanganui such a vibrant and special place to live in.
The project is being carried out in collaboration with the Whanganui Regional Museum and will culminate in an exhibition of selected works at the museum in 2026. Museum director Bronwyn Labrum says people were fascinated by the recent exhibitions of images by Whanganui photographer William James Harding and West Coast miner Joseph Divis, and the details they revealed about ordinary folk and how they lived a century ago.
These images showed how vital it is to have someone recording daily life as it actually happens, capturing those moments for posterity that can never be recreated. With this project, people 100 years (and more) in the future will be able to look back and see how we, their forebears, lived our lives.
New Year’s Day photo of club members on the job around the Watt Fountain in Victoria Avenue, Whanganui. (Photo by Jacqui McGowan LPSNZ)
Museum Director Bronwyn Labrum and WCC President John Smart APSNZ discussing historical photos of Whanganui from the Lampe collection at the Whanganui Museum. (Photo by Claire Smart)
Snapshots of Whanganui 2025 aims to capture the personality of the people and the city in 2025, covering as wide a cross-section of activities and environments as possible. These will be photographs taken “for the record” – candid, photojournalism-style images rather than posed – and most will be taken in public spaces.
This will be the third public service project carried out by the Whanganui Camera Club in recent times, following the successful Domestic Heritage project in 2022 and the Churches project in 2024. (https://www. whanganuicameraclub.org.nz/whanganuichurches-historical-record.html).
It builds on our belief that we can use our skills in photography to benefit the local community by recording the world we currently live in. As a club we are always keen to contribute to our community and, although it’s going to be a huge commitment, we believe our team of more than 30 participating photographers has the energy and the skills to make this a success.
The museum will have free access to the photos we take and they will select and curate a print exhibition to be displayed in the museum for several months in 2026. It is likely we’ll have so many photos we won’t be able to print them all, so we’ll also produce an audiovisual for display and create a digital gallery of a wider range of images.
Paddlers on Whanganui River - Virginia Osborne
Is Photography an Art Form?
Paul Byrne FPSNZ ARPS AFIAP investigates
During one of life’s quieter moments over the Christmas period, I found myself reflecting on a number of issues which have affected photography since its inception. My train of thought was probably prompted by the ongoing discussions about the use of Generative Artificial Intelligence [GAI] within photography. I decided a little research might help me to clarify my thoughts about this conundrum. Having contemplated the background of photography, I thought it might be useful to share my observations here.
I was aware that the first camera recorded in history was called a camera obscura. However, to my great surprise, I discovered the process and basic mechanics of the obscura were documented during the early eleventh century by an Iraqi scientist called Ibn al-Haytham. Astonishingly, that was nearly 1000 years ago!
My immediate thoughts then passed to the early cave paintings made during the prehistoric period, such as the crude drawings of “stick” men and animals. Many of these are considered by archaeologists to have been early forms of communication by way of visual storytelling. Many cave drawings are perceived as instructions about finding food or attacking and defending themselves from predators.
More questions flooded into my mind. For example, when did art become popular, and is photography actually an art form? If it is, why has it taken nine hundred and fifty years to reach maturity and become recognised as an important form of artistic ability? And, if it isn’t an art, why not?
Astonishingly, the first results from my search for “Art Forms” on the internet excluded any mention of photography! I thought this must be an error – probably on my part! I searched again but photography did not immediately appear.
I decided to widen my search to include art galleries and museums. Eventually, I located a number of very useful articles, all of which tend to suggest that photography is regarded as a visual art form. However, the adjective “visual” seems to me to be rather derogatory and quite dismissive. It suggests that photography is “only visual” and cannot be enjoyed in an emotional way. It’s only a record of fact that lacks enduring engagement.
That criticism may once have held some traction during the 19th century. However, comparing the art of painting to that of photography today reveals that emotions which touch viewers of images are frequently evident within good-quality photographs. Indeed this is one element of photography to which all photographers endeavour to aspire.
I find it difficult to understand why painting is considered to be both an art form and a visual art, whilst photography’s accreditation is limited to only being a visual art. Do I detect some form of snobbery here, or have I missed some vital component which enables some arts to receive a different or superior level of recognition?
During my research, I was very pleased to read about an exhibition of photographic portraits currently on view at the National Portrait Gallery in London and showing until 23 February 2025. The National Portrait Gallery is renowned for owning and exhibiting many of the world’s finest portrait paintings and sculptures. The images in the exhibition represent the award-winning photographic submissions from the annual Taylor Wessing Portrait Exhibition 2024.
To me, the fact that this prestigious gallery is prepared to exhibit photographic images signals an accepting nod of approval that photography can be regarded as an art form. Those images now hang alongside the works of Turner, Monet, Botticelli, Van Gogh, Constable, Caravaggio and Vermeer, to name just a few.
This is the link, should you wish to view some contemporary photographic portraits:
https://youtu.be/ DQqMCOJO0wQ?si=9uBQFuZ5hfR0-LOP
As I continued my search of up-market art galleries I discovered the following, almost dismissive explanation, copied from the Eden Gallery which operates in many prominent cities and locations across the world. The company also sells original and limited edition, “Fine Art Photographic Prints”.
‘As a relatively new medium, photography is NOT one of the traditional seven forms of art but it is included in the broader definition of visual arts. Within the visual arts, photography can be categorised as either fine art or commercial art. Many artists, such as Annie Leibovitz, work in both fine and commercial art worlds.’
Further research revealed that there are seven traditionally recognised art forms. These are painting, sculpture, architecture, literature, music, performing arts and cinema – with no mention of photography or “visual” arts!
CINEMA? That revelation came as a shock to me! Without “photography”, movies would never have occurred! The word “cinema” is the shortened version of the word “cinematography”. That word is derived from the Ancient Greek kínema, meaning “movement” and gráphein meaning “to write, draw or paint”.
I venture to opine that photography should officially be the 7th art form above cinema. After all, it was first discovered more than 900 years earlier than cinematography, which raises the question: how can photography be described as being “relatively new”?
Furthermore, the technologies used to obtain cinematic results basically use photographic principles and processing methods. Like photography, the film industry now includes digital technologies which have replaced the need for celluloid. Would a movie camera or video camera even exist today if it were not developed from the basic technology which created photography?
We can take this argument a stage further, now that domestic DSLRs and digital cameras are being used to make full-length feature films! Oh! You hadn’t heard that? Well, just to keep the record straight, the first movie shot on a digital camera was Windhorse in 1996. It was filmed in Tibet and Nepal using a Sony camera.
The official trailer for the 2016 movie Operation Avalanche was made entirely on a Canon DSLR and the Mad Max film franchise, which contains a number of high-speed chase and crash sequences in every movie, used a Canon 5D Mark II to record many of those sequences. Why? Because in the event of damage being caused during dangerous stunts, DSLR cameras were cheaper to replace, whilst being just as efficient.
During 2024, Netflix gave accreditation to the Nikon Z8, Canon EOS R5 and Sony A7R5, each of which has been used in a variety of productions screened by that network.
Returning to my original quest, Is Photography an Art Form? I decided to try to locate any information to indicate why photography is not regarded as art. I soon discovered that there are numerous opinions on the World Wide Web. Having read and contemplated a few articles, my straw poll seemed to indicate the following common reasons for not recognising photography as an art.
1. The use of a modern medium and process.
2. It merely captures reality as presented to a camera.
3. The medium is too technically orientated.
4. Instantaneity – i.e. little or no thought or preparation is required.
5. Photography is too easily accessible.
6. There is too much manipulation and the ability to edit an original piece.
I’d like to make the following personal observations in relation to each of the above points.
1. The use of a modern medium and process. Just because photography does not use “traditional” materials (paint, clay, wood, marble etc.), should not negate its acceptance as an art form.
Every art form started somewhere at some point. Whichever art form is considered, it will have processes applicable to the way in which that art is formed. Without a dedicated process, art forms wouldn’t exist. The process is as important as the material used and the specialised tools needed to render the art visible.
2. Merely capturing reality as presented to a camera. This may be true in the smallest minority of cases, but technology has moved forward and in most cases, the photographer is able to override many, if not all, the pre-programmed settings.
The essence of any photographic art work will inevitably result from the precise timing used by the photographer to activate the shutter. It will also include their consideration of light (intensity and direction), composition, and the arrangement of objects within a scene. The list goes on.
To me, this is just a development of the craft. In the beginning, there was just a pinhole camera, but even that required post-processing skills. Painting and all the other art forms have changed since their inception too. Advances in the development of pigments, brushes and tools. Changes in oil, and acrylics, methods and styles of application, and canvases which use modern fibres rather than hides. The list goes on. It’s just that technology is now moving at such a pace, it’s becoming difficult to remain focused. (No pun intended.)
Documentary project on Sri Lanka - Paul Byrne
3. It’s too technically oriented. It cannot be denied that photography uses technical skills. This is precisely why photography is an art form.
Painting, sculpture, definitely cinematography; in fact, all of the other art forms require specific skill sets. Is a master mason less artistic because he now uses a laser device to measure distances and vertices rather than a length of string and a weight?
Of course “technical” expertise and “know-how” support artistic endeavour. They form the bedrock of the vision of the artist who developed and enabled the final presentation of the work.
This is precisely why true photographers use the phrase "I made an image", instead of "I captured an image". The expression “made” correctly implies that some degree of knowledge and craft skills were applied to reach the end product. The expression “captured” tends to reflect a “point-andshoot” scenario, although that is rarely the intention of the user.
4. Instantaneity. To argue that images are not art, because they are instantaneously captured in camera, indicates a lack of understanding of the photographic medium.
Whilst some photographs can be captured and printed immediately, this does not reduce the impact of photography as an art form. (The instant camera was originally developed by Polaroid but now also produced by Fuji, Canon, Kodak and others.)
I wonder how many of you used Painting by Numbers between the 1950s and 1980s – I did, and I’m also old enough to recall Plaster of Paris model making! (For younger readers, please see the explanation marked ** below.)
I don’t think anyone ever attacked these products as being capable of diminishing an art form. On the contrary, they were seen as developing young minds towards artistic ability. The same can be said of the polaroid camera and its successors. They have a purpose and photographers have the right to choose the methodology and tools which they believe will produce or aid their final art works.
** When you purchased the product you were given a selection of rubber moulds, a packet of powdered clay and a few minute tubs of paint. The would-be sculptors needed to obtain their own water supply to mix the clay. As a child, you were then left alone for hours to make a mess. But, if you were slightly talented or just methodical, you would eventually produce a sculptured art work. This could be painted when dried.
Hope - Annette Johnston FPSNZ, from her series ‘Silent Tears’
5. Photography is too easily accessible. This notion has actually been used as an argument against images being recognised as art!
It is suggested that because photography has become more accessible to the general public, it allows more people to express themselves through this medium compared to more traditional art forms that ‘may require extensive training or resources’.
That rather implies that photography doesn’t require training and is not an expensive resource!
I hear your cries of disbelief! Although there may be some truth in this argument, e.g. in relation to mobile phone cameras, it equally applies to painters.
If you care to visit any Woolworths or New World supermarket, you will discover an array of basic artist materials available for purchase. My daughter paints for a hobby, as her grandfather had done. Their work is beautiful and described as “artistic” but in truth, that does not make either of them a recognisable artist in the same league as Leonardo da Vinci. And neither does it diminish any of the art which either of them has created.
Why does the same courtesy and respect not apply to photographers?
6. Manipulation and editing. To allege that photographic images are not art, because they can be manipulated in post-production through software, is an absurd argument. Post-processing, with the exception of the recent addition of Generative AI, has always been available to photographers since the inception of the art and science of the photographic process.
It is an undeniable foundation stone of photography. As surely as the texture of clay, or the flow of grain in wood and
marble, or the use of water-colour in preference to oils, are an artist’s early choices to make; photography permits some choices to be made prior to, during, and after the original making of the negative or digital image.
Manipulation is part of the development process and should not be a barrier to creativity when considering photography as an art form.
As an aside, did you know that there is evidence to suggest the Dutch painter, Vermeer, actually used an early camera obscurer to project subjects onto his canvas. He then drew around the outline which fell on the canvas. In that way, his perspectives were far more realistic. Also, none of his work shows any alteration to the original pencil drawing beneath the paint. Most painters make a number of changes which show up under modern scrutiny – but not in Vermeer’s work.
At this moment in time, I believe photography can safely be regarded as being an art form. Photographers should shout very loudly about that fact and be proud of it. Limited edition prints signed by the original photographer, and rare photo-books containing a collection of images by prominent photographers, are now becoming collectable and sought-after items of value.
Until recently, it was only possible for photographers to obtain, manipulate and make images purely from the negative or data (pixels) which they themselves obtained, using a camera. There was never any doubt that an image was not obtained in that way.
The whole process is viewed as being the sole work of the originating artist. However, the arrival of GAI challenges that founding principle of photographic art. GAI enables photographers to obtain additional pixels which are scraped from the internet by software programs.
These pixels are then offered to photographers, enabling them to introduce those pixels into their workflow during postproduction, in order to improve or change the final image.
As soon as that action is taken, the authenticity of the work being produced entirely by the artist is corrupted. The artist has no idea where those pixels originated, nor can it be said, with absolute certainty, that the original person holding the copyright of the “scraped” pixels would have given consent for their data to be used in this way.
This contentious issue is the main reason why national photographic societies across the world have banned the use of GAI material in national and international competitions, PSNZ included.
In time, I suspect a legitimate workaround will be found. Perhaps software manufacturers will be able to digitally mark data files which have been created with GAI. Who knows?
In the last CameraTalk, the process of GAI was well summarised in an article by Annette Johnston FPSNZ. Whilst some opinions now suggest that banning the use of GAI in competition is tantamount to stifling creativity, it is my opinion that nothing could be further from the truth. If society were to request that some unknown amateur painter should be permitted to adjust the work of Banksy or otherwise plagiarise any artist of renown, there would be an outrage. Furthermore, the value of artworks, in whatever genre or form, would plummet if word were to get out that viewers are only looking at a computergenerated image.
If photography is to remain an art form, a solution to this area of technology needs to be identified and introduced swiftly. Until that happens, I suspect that non-photographic artists, together with members of the press and the public, will subscribe to the view that the “art” of photography has been diminished to a point where there is little or no artistic value.
For this to have happened at a time when photographic art is securing a foothold and being recognised for the art form which it truely is, saddens me. If the art of photography has a death knell, it will surely be the widespread, uncontrolled use of Generative Artificial Intelligence.
Sanctuary Inner by Helen McLeod FPSNZ GPSA ARPS
Councillor Profile: Debra Metcalfe -
Ngāpuhi | Ngāti Whātua | Pākehā
Exploring Nature and Abstraction through Photography
I currently reside in Northland and have been fortunate to live all over our beautiful country – from Auckland, to the Waikato, then the McKenzie Basin, and many other places in between. Outside of photography, I own my own boutique virtual assistant company. I’m a virtual business partner, a strong advocate for keeping things simple, practical, and purposedriven.
I find inspiration in the textures, colours, and unique moods of the natural world. My photography journey is in its very early stages and I’ve come to embrace it as a way to connect with my surroundings and express my perspective. Whether capturing nature’s intricate details or exploring abstract compositions, my goal is to evoke emotion and curiosity.
While I’ve always had a hobby of taking photos in auto mode, I took up study and over the last few years I’ve begun diving deeper into photography, and now am almost always in manual mode which to me was quite an achievement.
I joined PSNZ to surround myself with experienced photographers and learn from their journeys and learn all there is to learn through my PSNZ membership. For me, this is an exciting opportunity to refine my craft, experiment with new techniques, and grow as an artist.
As the Communications Councillor for PSNZ, my vision is to create a strong, adaptable communications plan that will support the PSNZ community for years to come. I’m committed to fostering connection and engagement within our network while celebrating the incredible diversity of talent among our members.
Audio-Visual News
From Trish McAuslan FPSNZ, EFIAP/s, FAPS, AV-AAPS
Online AV Group
This group meets on Zoom on the third Wednesday evening every second month. The next meeting will be on 19 March. Members of PSNZ and members of clubs affiliated with PSNZ are welcome to belong. Please let me know if you are interested in joining the group and I will add your name and email address to the membership list. (You'll find me at mcauslanav@gmail.com) This means that you will receive the link to each meeting and very occasionally an AV related email.
At the first meeting for 2025 we did a tutorial on using Audacity for creating a voice-over or narration. At the next meeting we will consider using Audacity or edit music and how to combine music, sounds and voice over to produce a complete track. We also discussed the rules for the 321 competition and looked at some of the AVs that have been successful in recent years.
AV Basics
Last year we ran a series of four workshops on how to create an audio-visual. The workshops focussed on using PTE AV Studio 11 as the software but the process and skills could easily be adapted to using other software. I have edited and updated the video that was taken during the workshops and also updated the notes. These are now available for anyone in PSNZ who was not able to attend the workshop but who is interested in learning how to create an audio-visual. If you would like copies, please contact me. (Trish: mcauslanav@gmail.com)
International competitions closing soon...
Adelaide AV Fest
Entries close on 3 March
If you are planning on being in Adelaide from 25 to 28 March you are welcome to attend live judging. The judges are Ian Bateman from England, Alia Naughton, who judged the JSMT last year, and Richard Venus from Australia.
Full details and the entry process can be found at https://www.a-p-s.org.au/index.php/ exhibition/adelaide-av-fest
Challenge 321 International
Entries close on 15 March
This is a fun competition which anyone can enter. For more information and how to enter, see www.challenge321.org
Jurassic Coast International AV Salon
Closing Date: 31 March
For more information, rules and entry forms, see https://www.exmouthphotogroup.com/ jurassic-av-2025
Entries open for the Trenna Packer
Salver Competition on 1 May 2025.
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. See the 2024 winning row of six images below. 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.
The sets 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, appropriate titling is important.
This year the judge is Simon Runting, originally from England where he could be found exploring the fields and observing wildlife from a young age. He turned down a position in the RAF to pursue a photography career, and it wasn’t long before he established himself as one of Fleet Street’s most revered photographers, covering a variety of news stories around the world. Simon settled in New Zealand and raised a family in Auckland, where today his photographic work concentrates on corporate construction for major infrastructure projects. However, he still finds time to spend in nature where he is able to capture the unique personality of the wildlife around him. Simon has won several national and international awards for his images of bird life in New Zealand, and you might find him camouflaged on Auckland’s West Coast, but you will need to get up early.
The 2024 competition was won by the Auckland Photographic Society
Entries close on 20 June 2025. See details at https://naturephotography.nz/trenna-packer-salver/
From Photographer to Image Maker: the Art of Creating Rather than Capturing
Over the latter part of 2024, as AI got more persuasive in the software that we use, the term photography was bandied around in the purest sense – that, as we used the word Photographic in the name of the society, only true in-camera captures were acceptable.
I found this to be an extremely narrow focus – the art of photography is much wider than simply pushing the shutter. In this article, we look at what it takes to be an image maker.
Reimagining Photography as a Craft
In the world of visual arts, the distinction between being a photographer and an image maker is nuanced yet profound. While a photographer might be seen as someone who captures moments, an image maker is an artist who crafts a vision, weaving a narrative that transcends the mere act of clicking a shutter. This transformation from taking pictures to making images speaks to a deeper engagement with the medium, one that involves intention, creativity, and a mastery of the craft.
The Philosophy of Image-Making
To understand what it means to be an image maker, we must first delve into the philosophy behind it.
The renowned photographer Ansel Adams once said, ‘You don’t take a photograph, you make it.’ This quote encapsulates the essence of image-making: the conscious and deliberate creation of a visual story. It is about seeing beyond the surface and envisioning the final image even before the camera is raised.
Image-making involves a series of thoughtful decisions – composition, lighting, timing, and post-processing – all aimed at conveying a specific message or emotion. It is a process that demands patience and an acute awareness of the environment, much like a painter contemplates each brushstroke on the canvas.
Ansel Adams
Crafting a Narrative
One of the hallmarks of an image maker is the ability to tell a story through their work. Dorothea Lange, famed for her poignant images of the Great Depression, believed that ‘Photography takes an instant out of time, altering life by holding it still.’
Her images were not mere snapshots; they were narratives that conveyed the struggles and resilience of her subjects. Lange’s approach illustrates the power of photography to capture not just a moment, but the essence of an era.
Image makers often infuse their photographs with layers of meaning, inviting viewers to explore and interpret the story behind the image. This narrative quality sets their work apart, making each photograph a piece of art that resonates on a deeper level.
The Role of Intention
At the heart of image-making is intention. Unlike a casual photographer who might rely on chance encounters, an image maker meticulously plans and orchestrates their shots. Henri Cartier-Bresson, a master of street photography, spoke of the "decisive moment" – that fleeting instant when the elements of a scene come together perfectly.
For Cartier-Bresson, capturing this moment required not just luck, but a keen eye and anticipation, hallmarks of an image maker.
Intentionality in photography means being deliberate about every aspect of the shot. It involves scouting locations, understanding the light, and waiting for the right moment. It is a practice that elevates photography from a spontaneous activity to a disciplined art form.
Dorothea Lange Migrant Mother 1936
Henri Cartier-Bresson Canteen for workers building the Hotel Metropol. Moscow. Soviet Union. 1954
The Art of Post-Processing
Post-processing is another area where the distinction between a photographer and an image maker becomes evident. Ansel Adams was not only a master behind the camera but also in the darkroom, where he meticulously developed his prints to achieve the desired effect. He believed that ‘The negative is the equivalent of the composer’s score, and the print the performance.’
In the digital age, post-processing allows image makers to refine and enhance their work, bringing their vision to life. This stage of the creative process is where an image maker’s true artistry shines, as they manipulate colour, contrast, and composition to create a harmonious and impactful image.
Innovation and Experimentation
Being an image maker also means pushing the boundaries of the medium. Great image makers are often innovators who experiment with new techniques and technologies to expand the possibilities of photography.
Man Ray, an avant-garde artist, and photographer, once said, ‘Of course, there will always be those who look only at technique, who ask “how”, while others of a more curious nature will ask “why”.’
Image makers are driven by the "why" – their curiosity leads them to explore unconventional methods and challenge traditional norms. This spirit of experimentation keeps their work fresh and dynamic, continually evolving the art form.
Printing instructions for a famous image of James Dean
Man Ray Bal au château des Noailles (c. 1929)
The Emotional Connection
Ultimately, what sets an image maker apart is their ability to forge an emotional connection with their audience. An image maker’s work is not just visually striking but also emotionally evocative.
Sebastiao Salgado, known for his powerful black-and-white images, remarked, ‘If you take a picture of a human that does not make him noble, there is no reason to take this picture… That is the difference between photography and photo-reportage.’
An image maker strives to capture the humanity and emotion in their subjects, creating images that resonate on a personal level. This emotional depth is what makes their work timeless and universally impactful.
Conclusion
Transitioning from a photographer to an image maker involves a shift in mindset and approach. It is about embracing the artistry of photography and recognising its potential to convey deeper meanings and stories.
As Ansel Adams, Dorothea Lange, Henri Cartier-Bresson, Man Ray and Sebastiao Salgado have shown, making images is an intentional and creative process that goes beyond merely taking pictures.
It is about crafting a vision, telling a story, and making a lasting impact through the power of photography.
In this ever-evolving field, the image maker continues to inspire and innovate, pushing the boundaries of what is possible and redefining the art of photography.
Sebastião Salgado
Sebastião Salgado Serra Pelada gold mine in Brazil 1986
Using Filters to Create Special Effects InCamera While Shooting Images
Photography is an art form that allows for endless creativity and expression. One of the most effective ways to enhance your images and add a unique touch is by using filters.
Filters are not just a tool for post-processing; traditionally they would be used in-camera to assist the photographic process. Today they are used to create special effects during the actual shooting process.
This approach allows photographers to capture stunning visuals with a distinctive style that stands out straight from the camera. In this article, we will explore various types of filters and how they can be used to create mesmerising special effects in your photography.
Understanding Camera Filters
Camera filters are accessories that attach to the front of the camera lens. They modify the light entering the lens, thereby affecting the final image. Filters are available in different shapes, sizes and types, each serving a specific purpose. From enhancing colours to creating dramatic effects, filters can significantly alter the mood and tone of your photographs.
Types of filters and their effects
Polarising Filters
Polarising filters are among the most popular filters used by photographers. They reduce reflections and glare from non-metallic surfaces such as water and glass. Additionally, they enhance the colours and contrast in your images, making the skies look bluer and the foliage greener. This filter is particularly useful for landscape photography, where the natural elements can benefit from the boosted saturation and reduced haze.
Neutral Density (ND) Filters
Neutral density filters are designed to reduce the amount of light entering the lens without affecting the colour balance. This allows photographers to use slower shutter speeds or wider apertures in bright conditions. ND filters are perfect for creating motion blur in waterfalls, rivers or clouds, giving a sense of movement and fluidity in your images.
They also enable the use of large apertures to achieve a shallow depth of field, even in daylight, isolating the subject with a beautifully blurred background. Equally in the studio, ND filters will enable you to shoot at a wider aperture when it is impossible to reduce the output of the strobes any further.
3 Stop ND filter Moira Blincoe LPSNZ
Graduated Neutral Density (GND) Filters
Graduated neutral density filters are similar to ND filters but with a gradient transition from dark to clear. This is particularly useful for balancing the exposure in scenes with a high dynamic range, such as landscapes with a bright sky and darker foreground. By darkening only the sky, GND filters help retain detail in both the highlights and shadows, resulting in a well-exposed image.
Colour Filters
Colour filters can dramatically change the mood of your photographs by altering the colours captured by the camera. These filters come in various hues, such as red, blue, yellow and green, each adding a different effect to the image.
For instance, a red filter can create a warm, surreal atmosphere, while a blue filter can add a cool, moody tone. Colour filters are also commonly used in black and white photography to enhance contrast and emphasise certain elements in the scene.
Infrared (IR) Filters
Infrared filters block visible light and allow only infrared light to pass through the lens. This creates otherworldly images with surreal colours and contrasts. Green foliage appears white, and skies turn almost black, giving a unique and ethereal look to your photographs. Infrared photography requires a bit of experimentation and adjustment, but the results can be truly breathtaking.
Special Effects Filters
Special effects filters come in various designs to create unique visual effects directly incamera. For example, star filters add starburst patterns to light sources, creating a sparkling effect. Soft focus filters create a dreamy, diffused look by softening the overall image. Bokeh filters, with different shapes cut into them, can transform out-of-focus light points into hearts, stars, or other shapes, adding a creative touch to your compositions.
Star Filter Paul Whitham APSNZ
Tips for Using Filters Effectively
Know your filters. Understand the specific use and effect of each filter. Experiment with them to see how they alter the image and find the ones that best suit your style and needs.
Combine filters. Don’t be afraid to stack filters to achieve a combination of effects. For instance, using a polarising filter with an ND filter can help reduce glare while allowing for long exposures.
Mind the light: Pay attention to the lighting conditions and how they interact with the filters. Some filters, like polarisers, work best when the light source is at a certain angle.
Keep it clean. Ensure your filters are clean and free of dust or smudges. A dirty filter can degrade the image quality and introduce unwanted artefacts.
Use a tripod. For long exposures or precise compositions, using a tripod can help maintain stability and sharpness in your images.
Conclusion
Using filters in-camera to create special effects opens up a world of creative possibilities for photographers. These tools allow you to capture unique images that stand out, with effects that are difficult to replicate in post-processing.
By understanding the different types of filters and experimenting with their use, you can elevate your photography to new artistic heights. Whether you’re aiming for vibrant landscapes, ethereal black and white images, or surreal infrared shots, filters provide the means to transform your vision into reality.
Saving Money
When buying filters the most economic way to do so is to get the filter with a thread that fits your largest lens.
Then you can buy cheap step-up filters that let you adapt the filter to other lenses. These a simple metal rings with different size threads. They do not affect image quality in any way.
3 Stop ND filter Moira Blincoe LPSNZ
How to Use Crystals in Front of a Camera to Create Images - Exploring the Magic of Crystal Photography
In the realm of photography, creativity knows no bounds. One fascinating technique that has gained popularity among photographers is the use of crystals in front of the camera lens to create mesmerising and ethereal images. This article will guide you through the process of using crystals to enhance your photography, from selecting the right crystals to mastering the technique for stunning results.
Understanding Crystal Photography
Crystals, with their unique shapes, colours, and refractive properties, can add a magical touch to your photographs. When placed in front of a camera lens, crystals can bend and scatter light, creating a variety of intriguing effects such as rainbows, flares, and unique patterns. This technique can transform ordinary scenes into extraordinary works of art.
Choosing the Right Crystals
The first step in crystal photography is selecting the right crystals. Different crystals produce different effects, so it's important to experiment with various types to find the ones that best suit your artistic vision. Some popular crystals used in photography include:
• Quartz. Clear quartz is versatile and can create stunning light refractions and prisms.
• Amethyst. This purple crystal adds a subtle tint to your images and can produce soft, dreamy effects.
• Rose quartz. Known for its pink hue, rose quartz can impart a warm and romantic atmosphere to your photos.
• Prisms. Triangular glass prisms are often used to create strong light refractions and rainbows.
Preparing Your Equipment
Before you start, make sure you have the necessary equipment. You'll need:
• A camera with manual settings for better control over exposure and focus.
• A tripod to keep your camera steady and ensure sharp images.
• A selection of crystals to experiment with.
• A lens cloth to keep your lens and crystals clean and free of fingerprints.
Mirror reflections Anita Ruggle LPSNZ
Mastering the Technique
Now that you have your crystals and equipment ready, it's time to start experimenting. Here are some tips to help you master the technique.
1. Experiment with Placement
Hold the crystal in front of your camera lens and move it around to see how it affects the light and composition. Try different angles and distances to discover the most interesting effects. You can also place the crystal directly on the lens for a more immersive effect.
2. Play with Light
Light is a crucial element in crystal photography. Experiment with different light sources and directions to see how they interact with the crystal. Natural sunlight, especially during the golden hour, can produce beautiful results. You can also use artificial light sources, such as LED lights or candles, to create unique effects.
3. Adjust Camera Settings
To capture the best possible images, experiment with your camera settings. Use a wide aperture (low f-stop number) to create a shallow depth of field and emphasise the crystal effects. Adjust the exposure to avoid overexposed highlights or underexposed shadows. Manual focus can also be helpful for achieving sharp images.
4. Incorporate Backgrounds
The background plays a significant role in crystal photography. Choose backgrounds that complement the crystal effects and enhance the overall composition. Simple, uncluttered backgrounds work well to highlight the crystal's beauty. You can also experiment with textured or colourful backgrounds for added interest.
Creative Ideas for Crystal Photography
Once you've mastered the basics, it's time to get creative. Here are some ideas to inspire your crystal photography.
1. Abstract Art
Use crystals to create abstract images that focus on colour, light, and patterns. Experiment with different crystals and lighting to produce visually striking compositions.
2. Portraits
Enhance your portrait photography by incorporating crystals. Hold a crystal in front of your lens to add dreamy effects, flares, or rainbows to your subject. This technique can add a magical and ethereal quality to your portraits.
Guitar player Kate Beauchamp APSNZ
3. Nature Photography
Combine crystals with nature photography to create enchanting scenes. Place a crystal in front of your lens while photographing flowers, landscapes, or water to add a touch of whimsy and beauty to your images.
4. Still Life
Incorporate crystals into your still life photography for a creative twist. Use them to add interesting reflections, refractions, or patterns to everyday objects, transforming them into captivating works of art.
Post-Processing Tips
After capturing your images, post-processing can enhance the crystal effects and bring your vision to life. Here are some tips for editing your crystal photographs.
1. Enhance Colours
Adjust the saturation and vibrance to make the colours in your images pop. This can highlight the crystal's natural hues and enhance the overall mood of your photograph.
2. Adjust Contrast
Increase the contrast to make the crystal effects more pronounced. This can help to define the light refractions and patterns created by the crystal.
3. Sharpen Details
Use sharpening tools to enhance the clarity and detail of your images. This can make the crystal effects stand out and add a professional touch to your photographs.
4. Experiment with Filters
Apply different filters to see how they affect the overall look and feel of your image. Vintage, dreamy, or high-contrast filters can all produce interesting results.
Final Thoughts
Crystal photography is a beautiful and unique way to express your creativity through imagery. By experimenting with different crystals, lighting, and camera settings, you can create stunning and ethereal photographs that capture the magic of light and colour. Remember to have fun and let your imagination guide you as you explore this fascinating technique.
Whether you're a seasoned photographer or a beginner, using crystals in front of your camera lens can open up a world of artistic possibilities. So, grab your camera, pick up some crystals, and start creating your own magical masterpieces today.
Golden egg Kate Beauchamp APSNZ
Esther Bunnings
Let’s talk about the birds and the bees…
by Toya Heatley FPSNZ AFIAP
My garden is in full bloom right now, with all sorts of different colourful flowers. Along with the flowers, there are many bees and bumblebees buzzing about. When the birds are scarce, I often turn my attention to the bees instead.
I have never really explored macro photography and while I do own a macro lens, I have never used it – maybe one day. My birding lens is a large zoom that allows me to get really close to the birds, so I figured it should also work for the bees. Challenge accepted!
With the flowers being so low and me being unable to get down low, I resorted to scooting around on my office chair, up and down the driveway alongside the garden. My neighbours must think I am completely nuts.
I began by sitting quite a distance from the bees, to avoid getting stung. I used the lens at full extension where I have been told it has a macro effect. Then I started to experiment with distance, inching a little closer bit by bit.
Keep in mind that at full extension my microfour-thirds 100-400 mm lens effectively gives me 200-800 mm equivalent. It will focus from 1.3 metres. OK, that’s the technical bit over – keep reading.
Eventually, I was having so much fun that I kept scooting closer and closer to the bees until the lens refused to focus at around 1.3 metres. Imagine looking through the lens at 800 mm at a subject that is only 1.3 metres away. Suddenly the tiny little bee looks massive!
The next challenge is to track it flying and moving from bloom to bloom. I am still working on this as it is more about my eye following movement to give the camera something to track.
I understand there will be many people out there wanting to tell me there is an easier way, but that isn’t what this article is all about. It is about presenting myself with a challenge, using only the equipment that I have in my hand to achieve something completely different to what I normally use it for. I believe that each time I do this I learn something new about my camera and my lens.
This current challenge is fast becoming a new obsession for bees and bumblebees. I recommend finding similar challenges yourselves as they become learning experiences and assist with our growth and improvement with our photography.
All the images in this article have been created using my Lumix G9II camera with the Panasonic Leica 100-400 mm lens. For more of my bees and bumbles, check out my photo blog at digitalpix.co.nz.
Painterly Landscapes – a Workshop with Peter Rees
Mark Burgess FPSNZ reports
This workshop for 12 photographers was led by Peter Rees and based in Ohakune, National Park, over a weekend in September.
Peter Rees has a degree in fine art painting and successfully created large-scale works for galleries over many years in the United Kingdom. This has strongly influenced his approach to editing photos. He says, ‘It’s often more about light than subject matter for me. Dramatic lighting completely floats my boat and has done from my earliest memory of the artists I followed back at university. Caravaggio, Turner, Rembrandt and Vermeer all used light in such an effective compositional, emotional and powerful way. The painting techniques and pictorial language I learned back then have been so influential in the way I see and process photographic images right now.’
Thus the notion of “Painterly” means literally drawing on the traditions established by the Masters to inform a unique approach to processing images where the flat raw images are the blank canvases. But with refined restraint; never creating an image that isn’t entirely authentic, where its audience is never distracted by the techniques used to create it. Processing was taught in Lightroom, using its basic menu of global and local adjustments.
On Friday afternoon Peter set the scene and described the themes he wanted us to explore on the first location at Waitonga Falls.
The objectives for the weekend were to create landscapes that explored pathways, layers and intimate images from the bush.
Jill Cliffe APSNZ
Jennifer Simone LPSNZ
Ian Walls FPSNZ
These objectives were well harmonised with the weather which was exceptionally grey and foggy, with light rain most of the time –conditions that brought out our resilience and would demonstrate the adage that there are great images everywhere in any conditions.
After a delicious meal in one of the local restaurants, we returned to the meeting room for an evening talk by Peter.
On Saturday we were up by 5.00 am and making our way to Whakapapa to do the Taranaki Falls loop track. This offered many landscape subjects: beech forest, numerous streams, open alpine tussock landscapes and the vigour of the falls. In the afternoon we returned to the meeting room to process our images with one-on-one input from Peter.
Sunday was another early start, timed for sunrise at Turoa where the skies were relatively clear for the first time. Following this we met to share images and benefit from more input and critique from Peter.
The group were highly motivated and enthused by the weekend:
Shelley Wood LPSNZ added:
‘Pete, thank you for your time and humour. Your photography and art skills are truly remarkable, and the way you share your knowledge makes learning so enjoyable. You have a unique talent for capturing not just images, but emotions, and your passion for teaching inspires everyone around you.
‘Some great laughs were had and new friends made, Thanks to PSNZ and everyone involved.’
Kate Anderson APSNZ
Margie Sutherland
Tom Wilkinson APSNZ
Rosalie Adlam
Mark Burgess APSNZ
Jill Fearn
Jenny Corban
Shelley Wood LPSNZ
PSNZ Membership Benefits
Expert advice to help improve your photography.
The opportunity to achieve a higher Society distinction (LPSNZ, APSNZ, FPSNZ).
New Zealand members receive a complimentary copy of New Zealand Camera, and you can submit your images for selection in this annual publication.
Access to member-only resources, including a member-only PSNZ Facebook page for social chat and updates with other members.
The opportunity to enter the Canon Online Competition, with trophies for each round and for the overall winner each year.
Discounts for Society activities, such as the annual PSNZ National Convention, special workshops, international competitions and much more.
The opportunity to participate in regional meetings and events, including the PSNZ Workshop Series.
A copy of our bimonthly magazine CameraTalk, with news, reviews, events and some of the best photography around.
The opportunity to show your work in exhibitions such as the PSNZ Sony National Exhibition, regional salons and other member-only online competitions.
Access to judge training workshops at a reduced rate for PSNZ members.
Ability to promote your website on our website.
Receive regular blog posts to stay informed of the latest news on events, activities and special offers.
Product discounts and savings offered by our corporate partners and associated companies.
Discounts for major NZIPP events as a PSNZ member.
Ability to join a PSNZ Print Circle.
Ōkārito Bird Photography with Leanne Buchan
By Carole Garside LPSNZ
The weekend of 6 to 8 December 2024 showcased the unpredictable power of Mother Nature, reminding us that our carefully arranged plans can easily be upended. Thankfully, Jayne Parker and Leanne Buchan, the organisers, were able to alter the schedule to provide an amazing opportunity for photography and bird-watching for the whole party.
A group of 16 gathered at Donovan’s store for Leanne’s opening talk. Due to a significant high-country scrub fire in Canterbury, Leanne and Jayne found themselves rerouting through Lewis Pass instead of their planned journey via Arthur’s Pass. This unexpected change added 600 kilometres to their drive and resulted in a delay of two hours. Paula from Okarito Boat Eco Tours, however, joined us to discuss the region and ongoing conservation initiatives. With a spare hour before dinner, our group set off in various directions, eager to discover some of the local birdlife.
One valuable tip shared was the location of the elusive fernbirds. Eager to capture my first photograph of one, I set off to the boardwalk with Keely Muir. Paula shared an invaluable piece of advice with us: pay attention to the movement of the reeds and remember to look down. Have you ever mistaken a mouse for something else? You might just be seeing a fernbird instead! Despite the challenging winds, an obliging fernbird made an appearance on the boardwalk, offering us a delightful glimpse of the bird’s existence. What an exciting moment – I’ve spotted my very first fernbird!
Mark Burgess APSNZ
Jayne Parker
Following a delicious supper at the hall – I apologise to anyone who was splattered by my red wine accident – we were split up into two groups. Initially, the schedule outlined that the boat eco tours would accommodate a group on Saturday, followed by another on Sunday. In light of the dire weather forecast, predicting a staggering 20 mm of rain per hour for Sunday, a decision was made to consolidate our plans into a single day.
This meant an early start was essential to ensure we could fit everything in. The second boat tour was set for 10.30 am, so Keely and I decided to get up early and head to the boardwalk after experiencing the thrill of seeing fernbirds for the first time. At 5.30 am we were up and on our way!
The grass and reeds were swaying, and since there was no breeze at the time, we were finally able to get pictures of the fernbirds in their native habitat. Our findings included a delightful array of bird species: a redpoll, chaffinch, bellbird, grey warbler, tomtit, tui, and the ever-familiar kōtuku, affectionately known as Heronius.
Following a late breakfast, we made our way to the boatshed to connect with the group that had participated in the first boat tour. While they ventured to the white heron sanctuary at Whataroa, we took their place. As the day progressed the sun emerged in full force, casting a bright and intense light. However, there was a unanimous consensus among us that this was a preferable situation compared to the alternative of being caught in the rain.
Mark Burgess
Caroline Foster LPSNZ
Jayne Parker
Keely Muir
Numerous bird species, such as white herons, swans, spoonbills, godwits, kereru, cormorants, and terns, were spotted. Paula shared her insights on the local fauna, highlighting a rare Christmas orchid that captivated our attention. We enjoyed a lovely morning tea, featuring an elegant silver tea service and tasty homemade biscuits that impressed everyone. While we waited for the tide to change, we took a brief tour of some of the lagoon’s smaller creeks.
Eco Tours had made a special exception to their usual schedule, allowing us to experience both the boat tour and the heron sanctuary in one day. The temperature rose significantly while we were out on the boat, and it was easy to spot group B later that evening, thanks to their noticeably red faces.
Group B then made their way to Whataroa, where we enjoyed a coffee or chai latte at the Lonely Stag. Following this refreshing break, we boarded the tour bus to visit the white heron colony. At dinner the previous evening, Leanne had shared some valuable advice with us. Two tips to keep in mind: take a moment to appreciate the beauty of the birds without feeling overwhelmed, and be mindful not to overexpose the striking white feathers of the heron.
On this, my second visit to the nesting site, I am pleased to report that my photos have significantly improved, thanks to Leanne’s valuable advice. Dion, our guide from the sanctuary tours, provided us with valuable insights about the herons and the distinctive flora and fauna found along the native rainforest walk we crossed on our journey.
On return to the hall, we were greeted by a lovely dinner, featuring lamb accompanied by creamy mashed potatoes and fresh carrots, all culminating in a delicious pavlova for dessert. In light of the weather conditions, our group decided to scatter in various directions to discover more birds or explore new areas ahead of the impending rain.
A small group of us ventured to the beach to observe the dotterels and their adorable fluffy chicks. While some were fortunate enough to catch a glimpse of the chicks, I only saw the parents. Meanwhile, Heronius had made his way down to the beach, where he was successfully making some impressive catches. Surprisingly he was able to take off, given the substantial amount of fish we observed him consuming.
Unfortunately, Sunday’s plans for an early trip to the boardwalk for more fernbird sightings were thwarted by the persistent sound of rain on the roof.
At 9.00 am we gathered in the hall, where Leanne graciously shared insights into her editing processes, and everyone gained valuable information from that session. Regardless of your current knowledge, there is always an opportunity for new learning. As forecasts indicated the arrival of heavier rain by 2.00 pm, travellers departing on Sunday opted to begin their journeys home earlier than originally planned. For those of us remaining, we settled in for a focused session of editing. At 7.00 pm the rain finally relented and we ventured along the boardwalk, eager for another opportunity to spot the elusive fernbird.
On Monday Keely and I set off after a brief early visit to the boardwalk. Our destination was the Pakihi Track which meanders through a swampy marsh before gently ascending through the lush kamahi and rimu forest. The lookout platform provides stunning vistas of the lush rainforest, the intricate coastal landforms and the majestic Southern Alps, including the iconic Aoraki Mount Cook. On clear days, apparently, visitors can also catch a glimpse of the magnificent Franz Josef Glacier.
Exciting news! With our newly acquired skill of fernbird spotting we observed one in the carpark before starting the hike up the track.
During our walk, the distinctive calls of the kea echoed around us, yet nothing could have prepared us for the sight of one taking flight from the platform as we turned the corner. After a period of anticipation, our patience paid off as we enjoyed an exhilarating hour observing two adult birds caring for their two young chicks. The younger members of the family dutifully remained nestled in the trees, while the adults returned frequently to ensure their safety and wellbeing. Our time was cut short as the rain made its unwelcome return.
The workshop proved to be an outstanding success, overcoming the challenges posed by Mother Nature. Many participants, including myself, are eager for the opportunity to return and experience it once more. A workshop offers a wonderful opportunity to connect with like-minded individuals, with valuable advice and tips shared and warmly welcomed. One of the most valuable insights I gained was the importance of patience –allowing the birds to come to you instead of rushing the experience. We extend our heartfelt gratitude to Jayne, Leanne, Paula and Dion for creating a wonderful and memorable trip that will be cherished for years to come.
Congratulations to Heather Fronek, winner of the Canon Online round 8 for 2024. There were 111 entries in this round.
About Heather...
I’m a wildlife and landscape photographer, based in New Zealand and passionate about capturing the intricate beauty of the natural world. While much of my work focuses on vibrant scenes and wildlife, I’ve recently started experimenting with monochrome photography to explore new creative dimensions. I’m drawn to the interplay of light and shadow, finding inspiration in both grand landscapes and intimate details.
About Heather’s winning image
Contours in Contrast features a calla lily leaf with its gently turned edges, shadowed underside, and highlighted top. This monochrome image was an exploration of light, texture and form. I deeply appreciate Michele’s interpretation of the image, as her comments perfectly captured the artistic intention behind this piece.
The judge for this round was Michele Usher LPSNZ.
Michele Usher is a New Zealand-based photographer. Her love of photography started at an early age in the darkroom and has progressed to a combination of both analogue and digital techniques. She has a love of travel and landscape photography, but this has grown to include documentary and social aspects. She has a growing awareness of the use of photography and the arts to help and support communities through difficulties
such as mental health to help drive change and increase awareness. She has taken part in several joint exhibitions and is an accredited Photography Society of New Zealand judge. In 2023 she completed a BA with Honours in Photography through the Open College of the Arts and is currently studying for an MA in Documentary Photography through the University of South Wales. Her website is: http://mcuphotography.co.nz.
Judge’s comments
Thank you for letting me be a part of this year’s Canon Online competition. There were some amazing images, and you didn’t make my job easy at all. Following an initial review, I was able to select approximately twenty images and, from there, it was very difficult to decide which images made the top ten. The level of skill within New Zealand is amazing and I hope you all continue to make such fantastic images.
1st Contours in Contrast - Heather Fronek
This image beautifully captures the delicate interplay of light and shadow on organic forms. The soft, flowing contours evoke a sense of elegance and mystery, while the monochromatic tones enhance its dramatic depth. It was chosen for its artistic abstraction and the way it invites viewers to interpret its shapes and textures, sparking imagination. The use of light to highlight edges and curves is particularly striking, creating a captivating visual harmony.
2nd Waiting by the Pacific - Judith Swan LPSNZ
This image exudes a serene and minimalist charm. The composition centres on the bold, clean lines of the navigational marker, its vivid yellow and blue contrasting beautifully with the soft, muted tones of the sky and sea. The decision to place the marker slightly off-centre adds a subtle dynamic to the peaceful scene. It was chosen for its ability to evoke a sense of calm and introspection while showcasing the simplicity and elegance of coastal landscapes. The clarity and balance in the image make it visually striking and memorable.
3rd Frantic Work - Michael Byrne
LPSNZ
This captures a powerful moment of action and urgency as helicopters coordinate to combat a fire. The dramatic backdrop of smoke-filled skies emphasises the intensity of the situation, while the dynamic positioning of the aircraft and their suspended water buckets showcases the skill and precision involved. It was chosen for its ability to convey both the chaos and heroism of firefighting efforts. The vivid contrast between the helicopters and the smoky atmosphere adds visual impact, making it an arresting and emotionally charged scene.
5th Casting About - Johannes Brienesse
This image captures the intense and dynamic process of metalcasting in an industrial setting. The glowing molten metal, dramatic sparks, and reflective protective gear of the workers create a visually striking and powerful composition. It was chosen for its ability to highlight the precision and teamwork involved in this labour-intensive craft. The lighting emphasises the contrast between the fiery metal and the dark, rugged surroundings, showcasing both the artistry and the raw energy of manufacturing processes.
4th Dogs - Brent Higham
This poignant black-and-white image captures the vulnerability and resilience of dogs caught in a downpour. It was chosen for its emotional impact and ability to evoke empathy. The rain enhances the atmosphere, creating a dramatic and heartfelt scene. The composition draws attention to the dogs' expressions, emphasising their shared struggle and companionship, making it a powerful and touching photograph.
Brian Eastwood MNZIPP
This serene image captures the simplicity and tranquillity of a solitary walk along the beach with a dog. The soft, muted tones and the hazy atmosphere create a dreamlike quality, evoking peace and reflection. It was chosen for its ability to convey solitude, connection with nature, and the companionship between human and dog. The composition, with the lone figure and dog positioned against the vast expanse of sand and sky, emphasises the quiet beauty of the moment.
7th Smoko - Paul Donegan
This striking black-and-white image captures a moment of quiet introspection. The subject's textured, voluminous hair contrasts beautifully with the dark background, while the contemplative expression and cigarette create a raw, intimate atmosphere. The choice of lighting enhances the textures and emotion, making this a compelling portrait. It may have been selected for its artistic depth and ability to evoke a narrative or a sense of connection.
6th Alone on the Beach -
8th My Geriatric Cat - Susie Hare LPSNZ
This is a captivating portrait of a black cat, beautifully highlighted against a dark background. The cat's luminous yellow-green eyes draw the viewer in, providing a striking contrast to its sleek, dark fur. The lighting emphasises the texture of the fur and the cat's whiskers, showcasing its natural elegance. This image may have been selected for its emotional resonance and artistic simplicity, evoking admiration for the cat's dignified presence and character.
9th Pied Stilt - Sue Henley LPSNZ
This is a stunning photograph of a pied stilt, perfectly captured in its natural habitat. The reflection in the calm water creates a symmetrical and visually captivating composition, drawing attention to the bird's elegant form and delicate pink legs. The soft green background adds a peaceful, serene tone, allowing the subject to stand out beautifully. This image was likely chosen for its technical precision, artistic balance, and ability to highlight the grace of wildlife in a tranquil moment.
10th The Kaimanawas - Lynda Leng LPSNZ
This striking black-and-white image captures a dynamic moment between two horses in a grassy field, showcasing their energy and movement. The dramatic contrast and texture highlight the wild beauty and freedom of the horses, making it a compelling choice for its raw emotional power and artistic quality.
