CameraTalk June 2024

We need you !

PRESIDENT

Caroline Ludford ANPSNZ m: 021 958 404 e: president@photography.org.nz

SECRETARY

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 August 2024

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:

Miao Old Man by Jiongxin Peng APSNZ EFIAP - top scoring PSNZ entrant in 2023 4 Nations (see page 22 for more details)

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.

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

This issue contains AI generated images created using Adobe Firefly or OpenAI. They have been used where no actual photographs from members were available. They have also been used to illustrate points where, if an actual member images was used, it may have caused offence.

We recognise that the use of AI generated Images is not permitted in PSNZ Salons.

President's Piece

By Caroline Ludford LPSNZ ANPSNZ LRPS

My first job as the new President is to say a huge thank you to Paul Whitham APSNZ for his many years on Council, his dedication and his contributions to PSNZ. Paul not only completed the normal term of two years as President but stepped up for a third consecutive year to ensure that a successor was found, all the while needing to deal with the disruptions due to Covid and the challenges that followed. Paul oversaw a signficant renewal of the Council, something that is not easily done. He now takes on the role of Immediate Past President and I know the Council will welcome his expertise and knowledge as we move forward.

We had a good turnout for the AGM on 28 April, held via Zoom, and I would like to thank the members who took the time to attend. I would also like to welcome the newest members to Council and thank them all for volunteering their time and expertise. We have an awesome and hard-working Council.

For those that do not know me, I was born in the UK and moved to New Zealand in 2006, having fallen in love with the country and people whilst on holiday. I joined the North Shore Photographic Society and the Hibiscus Coast Photographic Club prior to joining PSNZ and the RPS in 2013.

My background includes 30 years in policing and I completed those final years as a Police Forensic Photographer in the Auckland region before retiring to the Kapiti Coast with my husband.

I gained my LPSNZ and LRPS in 2016 and successfully achieved Judge Accreditation in both the open and nature categories in 2017 and 2019. I joined the Judge Accreditation Panel as secretary shortly after that, and was Chairperson until joining Council in September 2022.

In February this year I successfully attained ANPSNZ.

I first took on the role of Councillor for Salons, working with clubs around the country to organise the Sony National and two regional salons for 2023, whilst ensuring the smooth running of Canon Online, the 4 Nations and Interclub competitions.

From the above I would hope that members can see that I have been a long term contributor to PSNZ and have a broad and deep understanding of the activities which PSNZ runs and offers to members. It should come as no surprise that I view my time as President of our Society as one in which to build on the work of my predecessors and previous councils as well as to lead our current council in enhancing what we offer, ensuring that members see value for money from their membership dues and capitation fees, and most importantly working to enable PSNZ to mark a 140th National Convention, not just the 70th which we will celebrate next year.

PSNZ is but one of my keen interests and ways in which I contribute to our wider community. I have been a volunteer photographer for both the “Make-A-Wish” Foundation and “Heartfelt” for a number of years and now spend much of my time as a Judicial Justice of the Peace in Wellington.

Following the AGM the PSNZ Council met for a face-to-face meeting in Wellington in May. A significant portion of our time together was ensuring we had a strategic plan.

I strongly believe that a plan is essential for the sustained success and growth of our organisation. It gives us clear direction and aligns our efforts and resources with the longterm goals of the Society.

We are now working on a range of areas with the objective of having specific, measurable, achievable and relevant goals, each of which contributes to the desired outcomes of our strategic plan – helping photographers grow. We will prioritise initiatives and ensure that the organisation is focused on the goals and I intend to report back through this channel as we make progress against that plan.

I think it is important to improve communication between the membership and Council and my first priority is to start up the President’s meetings. The first of these is booked for 7.00 pm on Tuesday, 11 June 2024 via Zoom. I welcome all the Presidents of our affiliated clubs to join us.

I know there is a huge number of people who regularly volunteer their time and knowledge to keep PSNZ functioning.

I want to thank those people. We have the Council members who work hard on their respective portfolios; alongside them is a team of people who work tirelessly behind the scenes. These include

 Bruce Girdwood FPSNZ and his team on the Honours Board, assisted by secretary Stephanie Forrester APSNZ.

 Neil Gordon APSNZ and his team on the Judge Accreditation Panel, assisted by secretary Jenny Whitcombe.

 Jayne Parker and Nicole Tai LPSNZ, who help to organise all the workshops.

 Rachel Hume APSNZ, Debra Metcalfe and Moira Blincoe LPSNZ, who are working to get the conventions ready for us all with some fantastic overseas speakers.

 Neil Gordon and Greg Whitfield, the database team.

 Lindsay Stockbridge LPSNZ for his role on CameraTalk and a thank you to Paul Whitham for taking on the role of editor.

 Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP, who is the FIAP liaison officer for PSNZ.

PSNZ could not function without these wonderful people and the volunteers who were there before them. Thank you.

I’d also like to give recognition and a special thank you to our wonderful trades partners – the sponsors of many of our activities but, just as importantly, the people from those orgnisations who make such a difference. Thank you, we greatly appreciate your contributions. This includes the teams at Sony, CR Kennedy, Lacklands, Panasonic, Canon, Epson and Photo Warehouse.

So, where to from here?

I look forward to discussions with the Presidents in June and to meeting with many of you personally at the Gisborne Regional Convention from 20 to 22 September. This is another wonderful opportunity to hear your thoughts and discuss how we can work together to fulfill our shared vision. If you haven’t checked out the promo video for the Gisborne Convention, please do. It looks like it’s going to be an amazing weekend and I know that Julia and her team have been working so hard to put on an entertaining convention for you. The speakers will be sensational!

Key Dates for the Diary

June 1

June 2

June 5

June 10

June 11

June 15

June 17

June 25

June 30

July 1

July 8

July 8

July 21

July 31

August 20

August 24

August 25

September 20

Entries for Sony National Salon Competition open

Entries for New Zealand Landscape Salon close

Entries for Tauranga AV Salon close

Submissions for 4 Nations selection open

President's Zoom session

Entries for Trenna Packer Salver close

Entries for Creative Focus open

Canon Online Round closes

Entries for PSNZ National Salon close

Entries for Nelson Triptych Competition open

Submissions for 4 Nations selection close

Entries for North Island Regional Salon open

Entries for Creative Focus close

Entries for Nelson Triptych Competition close

Entries for North Island Regional Salon close

Grace & Movement Workshop - Auckland

Canon Online Round closes

North Island Regional Convention - Gisborne

New vision New possibilities

Created to capture bright, sharp, and star-filled imagery, the Sigma 14mm f/1.4 DG DN Art Lens is a full-frame ultra-wide-angle prime designed for astrophotography. Its sophisticated feature set also makes it an excellent choice for architecture and landscape photography. Offered here with a Sony E-mount, this lens is part of the Art line within Sigma's Global Vision series, providing outstanding optical performance for high-end creative and artistic applications.

14mm f/1.4 DG DN Art Lens A

Meet the Council - Chris Blincoe APSNZ

My background

In 2020 I retired from a professional career spanning more than 40 years in the trustee and financial sector industry – about six weeks prior to New Zealand’s first lockdown. My retirement was planned, but not to coincide with the event that changed the world. In fact, I was due to go on an Australian-led photography tour to India three days after retiring, but the Covid word had started circulating and continued to percolate to the point where my family and I just didn’t think it was worth taking the risk of being stranded in India. The rest, as they say, is history.

As many will know I am married to fellow photographer and PSNZ member Moira, a former Councillor and President of the Society. My knowledge of the Society and the workings of Council are therefore reasonably developed.

Using my professional skills, I currently maintain several board positions on not-forprofit organisations; namely, the Auckland City Mission Foundation that I currently chair, and having given 15 years to this Board I will be retiring later this year. I am also trustee of both the Hearing Research Foundation and the Deafness Research Foundation – just so that I know who to turn to when my hearing starts to decline.

My journey into photography started many decades ago and, like many other photographers, not really taking it seriously at a young age, but just playing around by photographing family, friends, surfing adventures – of which there were many – and then my children when they were young.

My first serious camera was a Nikon FE2, which I used for many decades. Like many, I have boxes of slides and old negatives that will probably never see the light of day again.

In 2005 Moira and I went on a six-month adventure to France to live and work in the Alps. Prior to leaving we purchased a Sony Cyber-shot camera, thinking that digital was the easiest way to capture our adventures. One year later, while still living in France (the six months morphed into four years!), I purchased a Nikon D80 as Moira and I were attending a digital photographic workshop in the South of France. That week changed the direction and personal interests in our photographic journeys. Not long after the course, with a new decade birthday looming, I threw caution to the wind and purchased a Leica M8 rangefinder camera with a 35 mm lens, and so the serious journey began.

I can recall vividly those winter nights in the Alps, learning from a somewhat large Scott Kelby bible on Lightroom, struggling to understanding the process and how to import and develop. How times have changed, with YouTube tutorials now at one’s fingertips.

On returning to New Zealand, I joined the Auckland Photographic Society and later PSNZ.

My photography went through a slow and painful progression to the present day when more dedicated time is now available to become more proficient and experienced. Some aspect of photography, whether it is practising new techniques, listening to webinars from photographers I admire and respect, or editing my own work, constitutes a part of my daily life.

My particular interest is predominantly landscape, street, and architecture. I have yet to find the passion for birds and nature, much to the displeasure at times of my other half!

Having purchased a motorhome in 2020, we have been fortunate to be able to spend many weeks each year travelling in the South Island, where of course we indulge in photography wherever we go.

I have continued to be in the Leica camp, finding favour in the camera’s build and lens quality. In my bag at the moment, I have a Leica Q3 which has a fixed 28mm lens and a Leica M10 monochrome, together with one or two lenses that presently serve my purpose.

My approach

I am particularly drawn to the power of black and white photography as my preferred medium, with a focus on simplicity to a degree. I now experiment with a variety of techniques and expressions that resonate strongly with me.

Over the years I had a tendency not to enter salons or competitions and when I did, it was usually thanks to Moira’s cajoling and encouragement. In fact, I hate to admit the fact that I was the longest serving Novice grade photographer in the Auckland Photographic Society, as I had never accumulated enough points to move up a grade. On attaining my Associateship the club took matters into their own hands and moved me up.

In recent years I have enjoyed some welcome success, including a selection in the Royal Photographic Society Summer Exhibition and a finalist in the 2023 Head-On Festival landscape category which resulted in several sales of the image, with the image selected by the Royal College of Music in London to compose an accompanying piece of music.

And in 2023 I was delighted to receive my Associate honours distinction for a selection of twelve monochrome images, and now find myself contemplating the challenge of developing a submission for the next step to Fellowship.

My responsibilities on Council will include looking after our trade partners, most of which I have known for many years, and other sponsorship opportunities – and I look forward to this challenge.

Welcome to Our New PSNZ Members!

Alan Goodwin

Carol Spaulding

Christine Hay

Dilip Kumar Wijendran

Fiona Mackenzie Todd

Heidi Anderson

Jim Perdue

Maija Jespersen

Michael Ryan

Patrick Firkin

Rebecca McLay

Rikki Coulthard

Toni Meadows

Tony Frith

Valerie Cuthbert

Chris Blincoe APSNZ

Exploring Horizons: Field Trips and Workshops at the North Island Regional Convention

Set against the backdrop of Gisborne’s captivating landscapes and cultural richness, the PSNZ Regional Convention offers an unparalleled opportunity to learn, network, and create. Whether you are looking to deepen your technical skills, explore new artistic avenues, or simply enjoy the company of fellow photography enthusiasts, this convention promises to be an enriching experience. Join us for a weekend that celebrates the art of photography and the beauty of discovery.

Discover the Beauty of Field Trips

Embark on a journey through some of the North Island's most picturesque and historically rich sites. Our field trips are designed to cater to a variety of interests and skill levels, ensuring every participant leaves with stunning photographs and enriched knowledge. Whether you are drawn to the rustic charm of the Kaiteratahi Ruins, the serene beauty of the Bushmere Arms Gardens, or the technological allure of the East Coast Museum of Technology, there is a destination to ignite every photographer’s passion.

The convention is not just about listening but also doing. Attendees will have the opportunity to participate in one of the field trips, each led by experts:

Eastwoodhill Arboretum

Join Chris Helliwell LPSNZ and Annette Johnston FPSNZ this spring at the Eastwoodhill Arboretum, a botanical haven featuring over 3,500 tree species. As the park awakens from winter, experience the vibrant spectacle of magnolias, camellias, and rhododendrons in full bloom, alongside the cheerful yellows and whites of daffodils. The arboretum's natural woodland areas burst with lush, new foliage, creating a stunning backdrop for both photography and nature walks. The season also welcomes a chorus of native birds, including Tui and Kereru, enhancing your photographic journey with their dynamic presence. This unique setting offers endless inspiration for photographers of all skill levels. For more details visit https:// regional.photography.org.nz/ni-fieldtrips/ eastwoodhill-arboretum/

Kaiteratahi Ruins

Join us for a captivating photography field trip to the haunting Waipaoa Freezing Works, an imposing relic reminiscent of bombed Berlin. Led by keynote speaker Meghan Maloney, this expedition offers an unparalleled opportunity to capture the stark beauty of this ghost building and its vast surrounding landscapes through your lens. Built in 1915 and abandoned in the early 1930s, this site now serves as a dramatic backdrop for both architectural studies and sweeping land-based long exposures. Conclude your day of exploration with a delightful afternoon tea at the nearby Bushmere Arms, an award-winning locale. For more details visit https://regional.photography. org.nz/ni-fieldtrips/kaiteratahi-ruins/

Bushmere Arms

Immerse yourself in the elegance and charm of Bushmere Arms, a venue celebrated for its fine cuisine and enchanting gardens, under the expert guidance of Michael Bradley and Julia Rae. This sophisticated location offers photographers a tapestry of visual opportunities, from the grandeur of landscaped gardens with formal paths and fountains to intimate flower portraits and macro photography experiments. Explore the architecture, delve into stylish monochrome techniques, or engage with portraiture at our model station. Cap off your experience with a stylish afternoon tea prepared by Bushmere Arms' award-winning chef. Don't miss this chance to enhance your photography skills in a setting that combines historical ambience with artistic potential. For more details visit: https://regional.photography.org.nz/nifieldtrips/bushmere-arms-gardens/

East Coast Museum of Technology

Discover the hidden photographic gems of the East Coast Museum of Technology (ECMoT), guided by John Cowpland and Rachel Hume APSNZ. This venue, a nostalgic treasure trove, presents a wide array of photographic subjects from the past to the present, ranging from large machinery to intricate small details, all awaiting your creative vision. To enhance the experience, each participant will engage in an "I Spy Treasure Hunt", starting with straightforward prompts and progressing to more conceptual and challenging observations. This interactive approach not only adds excitement but also sharpens your photographic skills. For more details visit: https://regional.photography.org.nz/nifieldtrips/east-coast-museum-of-technology/

The Shape of Things: Self Guided Walk through Gisborne

Embark on a unique photographic journey through Gisborne with "The Shape of Things," a self-guided walk that challenges you to capture the diverse shapes that make up the city. From the distinct lines of modern architecture to the fluidity of abstracts, the dynamic movements of people, and the intriguing techniques of Intentional Camera Movement (ICM), this adventure offers endless creative possibilities. As you stroll through the streets, sharpen your eye for detail and composition, finding beauty and form in unexpected places. This is a perfect opportunity for photographers eager to expand their visual portfolio and see the world through a new lens. Join us and transform the ordinary into extraordinary through your camera’s eye! For more details visit: https://regional.photography.org.nz/nifieldtrips/gisborne-discovery-walk/

Embrace the Art of Photography: Discover

Our Workshops!

Are you passionate about photography and looking to elevate your skills? Join us on Sunday, 22nd September 2024, for an exciting lineup of workshops at the Gisborne Regional Convention. Whether you're refining your techniques or aiming for professional accolades, these workshops cater to all levels of experience and are led by some of New Zealand’s top photographers.

Workshop 1: Capturing the Action with John Cowpland and Michael Bradley

Dive into the dynamic world of sports photography at the Patu Tahi Boxing Club. Experts John Cowpland and Michael Bradley will guide you through the challenges of capturing sharp, vivid sports actions in low light, focusing on both the intensity of live sports and the nuanced expressions of sportraiture. This workshop is perfect for those interested in understanding fast-paced photography and learning to use off-camera flash for compelling portraits.

Workshop 2: The Road to Honours with Paul Byrne

Thinking about elevating your photography to the next level? Paul Byrne FPSNZ ARPS AFIAP, a seasoned PSNZ Judge and Honours Board member, will lead the Road to Honours Workshop. This session is designed to demystify the process of applying for a PSNZ Honours distinction, providing crucial insights into preparing a standout portfolio. Learn about the expectations and assessment criteria, directly from an insider, to enhance your chances of achieving this prestigious recognition.

Workshop 4: The Finer Points of Printing and Matting with Chris Helliwell LPSNZ

Transform your digital images into tangible works of art with Chris Helliwell’s expert guidance. Learn everything from selecting the right paper, managing colours, to the final touches of framing. Chris's workshop is ideal for anyone wanting to gain control over the printing process and ensure their photographs are presented as high-quality fine art prints.

Workshop 3: Escape into the Surreal with Meghan Maloney

Join Meghan Maloney and step into the surreal aspects of landscape photography. This workshop will explore the use of ND filters to enhance and transform natural scenes into breathtaking, dream-like images. If you're looking to add a touch of fantasy to your landscapes and offer viewers an escape into the surreal, Meghan’s insights will open new creative avenues for your photography.

In the heart of Gisborne this September, seize the chance to not only enhance your photography skills but also join a community passionate about capturing the world through a lens. Each workshop is a unique opportunity to learn from the best, ask questions, and practise your craft in a supportive environment. Whether it's mastering the action of sports, delving into the surreal landscapes, understanding the nuances of achieving prestigious honours, or bringing your digital creations to life as fine art prints, these workshops are designed to inspire and educate.

Don't let this chance slip by! Engage with experts, broaden your horizons, and perhaps even take the first steps toward new photographic achievements. Come for the skills, stay in the community, and leave with a portfolio that not only preserves memories but showcases your evolving talent. Sign up today and be part of something bigger, a place where your passion for photography meets our commitment to bringing out the best in each and every photographer. Let's make those shutters click and creativity flow at the Gisborne Regional Convention. See you there!

Aaron is the Digital Imaging Product Specialist for Sony New Zealand. He has worked as a commercial photographer for nearly two decades, specialising in fashion, beauty and portraiture. His imagery has been published in numerous local and international publications.

In this workshop you will learn how to create stunning images of dancers in a studio setting, with an emphasis on managing light. Aaron will demonstrate how to use highlights and shadows to create form and emphasise areas of interest.

The workshop will be run at White Studios in Grafton, Auckland. This is a fully professional environment but, don’t worry, the workshop will cover everything you need to know to make images of the kind illustrated in this article. You will be given ample opportunity to photograph the dancers at various times throughout the workshop.

Techniques covered include

 basic lighting principles

 camera settings

 lens selection

 how to use strobes

 how to use a various modifiers to shape light

 how and when to shoot tethered

 how to direct dancers effectively

 set safety and etiquette.

The workshop will start at 9.30 am with an introduction to the day. Aaron will then take over and give a variety of demonstrations, each utilising a different lighting set up. Lunch will be provided. We aim to finish by 4.30 pm.

To register please go to the Workshop Series page at https://photography.org.nz/eventsand-publications/psnz-workshop-series/ and follow the links to the members log on and to “Register for a Workshop”.

PSNZ would like to thank Sony for their sponsorship of this event.

Meet the Council - John Hawkins

I grew up in Dunedin and took a strong interest in black and white photography in the 1970s, whilst in my later teens. Self-taught, within a group of likeminded friends, with no inhibitions, we had a lot of fun. Then marriage and children came along, still fun but not a lot of photography.

It wasn’t until our home became an empty nest that I learnt the more technical skills of photography through classes with Paul Daly in the early 2000s. I then followed other classmates to the Christchurch Photographic Society (CPS) in 2016 and my skills and knowledge have been fostered by lots of tutorials, field trips and mentoring from the wealth of knowledge within the club. My main interests are in landscape, nature (preferably slow or non-moving), macro and a little bit of creative work. In 2019 I won the Laurie Thomas Landscape Salon.

I shoot on a Canon R6 with most shots taken on a 24-105 mm or 100 mm macro. As I spent a lot of time shooting film, I don’t usually hit the button until I see what I am looking at. I also try to stick to the plan and not get distracted with a landscape when shooting fungi, and vice versa of course, unless it’s too good to miss.

Professionally, I spent 14 years working in the electricity industry, initially surveying high voltage transmission lines, then in IT. The next 25 years were spent in health IT as a developer, analyst and finally a manager of a large and diverse team. I retired in 2020.

Voluntarily, I was the CPS open PI secretary for two years and am currently club secretary. I am in my third year of running the Canon Online competition for PSNZ, and have now picked up the management of NZ Camera.

Godley Head

Jordale Rocks West Coast

Mycena Lewis Pass

Portuguses Man of War Farewell Spit

4 Nations Photo Challenge

How do you feel about representing your country, photographically? The 4 Nations competition is your chance to achieve this honour. It is a cool photo event, quite different to the usual salons and competitions.

This annual challenge pits the best photographic endeavours of the four national photographic societies of Australia, Canada, South Africa and New Zealand. Each society selects 80 images to represent them. All the resultant 320 images are judged by a panel of three international judges, who are all independent of the four countries. Images are scored anonymously, and the three judges’ scores are aggregated. The society with the highest total score gains the “bragging rights”.

Regardless of where PSNZ finishes in the challenge, you can feel proud that your selected image was part of our team, chasing the honours.

Each society’s entry of 80 images is divided into four separate categories. 35 are Open Colour, 15 are Open Mono, 15 are Nature and 15 are Our Country. All categories are considered as open in terms of subject but each category has an overriding condition attached.

Nature images must comply with the PSNZ standards; Open Colour and Open Mono must be just that, colour or mono. The Open Country is a little more interesting; the subject is once again open, but the image must have been exposed in New Zealand. The idea is to produce a stunning photograph that showcases a recognisable aspect of our country.

This is a very representative competition by virtue of the fact that each society’s entry of 80 images must be created by 80 different photographers.

Our country - Home Hills Run by Kevin Clarke ANZIPP

The first step is to select your images and enter them to be considered for PSNZ team selection. This is a supreme international event, so we are looking for your best images. Think about images worthy of honours in our Sony PSNZ National Salon.

All images are judged and scored anonymously by a panel of PSNZ accredited judges. The “team” selection is based on rankings derived from the aggregated score of each image. As this is a team event, there will only be one image per team member. All four of your images may meet the selection criteria but only the highest ranked one will be selected.

Our PSNZ selected entry is then sent to the host society which randomly aggregates all four societies’ images and sends them off to be judged by a panel of international judges in a neutral country.

The host society then sorts out the winners and disseminates the results. The society with the highest overall points total is declared the winner. The highest pointed image in each of the four categories will be awarded a Gold Medal. There may also be up to two Honourable Mentions made per category.

PSNZ will strike a PSNZ Gold Medal for any medal winners and a PSNZ Silver Medal for Honourable Mentions. These are usually presented at the PSNZ National Convention. All members who had an image selected in the PSNZ team will receive an electronic certificate honouring that achievement.

A call for entries will be made very soon, with all details about how to enter. The opening date for submissions is 10 June 2024. This overlaps with entries for the National Salon so you can submit your salon entries for the 4 Nations competition.

Open mono - Miao Old Man by Jiongxin Peng APSNZ EFIAP

Nature - Kahu Mantling by Jeanette Nee APSNZ

Open colour - Welcome Swallows by Deborah Martin APSNZ AFIAP

Salons: the What and the Why

By Annette Johnston FPSNZ

As the recently minted PSNZ Councillor for Salons, I thought that it might be a good idea to have a look at what is meant by a photographic salon, and why we as photographers might like to consider participating in such an event.

A quick GOOGLE search led me to the TATE (Galleries), where I was informed that within the art world the term “salon” was the name used for the official art exhibitions organised by the French Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) and its successor, the Academy of Fine Arts (Académie des Beaux Arts). From 1725, the exhibitions were held in the room called the salon carré in the Louvre and became known simply as the salon. This later gave rise to the generic French term of “salon” for any large mixed art exhibition.

Today, photography has adopted this name. A photographic salon references a collection of selected or curated photographic images. A selection, made by appropriately qualified persons (judges), may be exhibited physically, or perhaps more commonly in today’s digital world, compiled into a digital catalogue or an audio-visual presentation. The preeminent (winning) images will receive recognition, awards or prizes, and the authors of all accepted (meeting a standard) images will be able to enjoy a sense of achievement and recognition. In other words, a photographic salon is a photographic competition.

Since its inception, the Photographic Society of New Zealand (PSNZ) has held salons.

I took the time to read the PSNZ “History” webpage and from the first two very short sentences, ‘Fred Bowron went to America. That was the beginning.’

I was enchanted. As described, the photographers of the day grew what was initially a planned “get-together” of South Island clubs, into the idea of a national body. I particularly enjoyed the list of “prime reasons” for the planned society:

‘… sharing a common interest; getting the chance to see other peoples’ photography and having fun.’

View of the Grand Salon Carré in the Louvre by Giuseppe Castiglione, 1861, via Musée du Louvre, Parisn

Portrait of Fred Bowron by Len Casbolt: Part of Te Papa's Photographic Collection

The history page tells us that, eventually, invitations were sent to the approximately 30 New Zealand camera clubs of the time, and over 100 keen photographers from across the country attended the South Island Photographic Convention, held in Queenstown from 24 to 30 April 1952.

The first National Salon of Photography, held in conjunction with the convention, had an extensive exhibition of self-processed monochrome prints of the set size, 16 inches x 20 inches, and mounted. The Photographic Society of New Zealand was born the following year, 1953.

As we begin to look at the why of salons, it must be acknowledged that salons, as well as providing opportunities for photographers to share, and to be able to see their fellows work, bring in funds for a society – perhaps not many funds but, as they say, every bit helps!

The question remains however; why should we as photographers today, take the risk and submit our work into competitions?

Is a social media “like” a good measure; does it truly gauge the substance, the worth of our images, our progression as a photographer?

Personally, I like competition. Throughout my life, I have participated in competitions within the sports world, the arts world and latterly within photography.

It is my hope that I have learnt to lose with grace, and to occasionally win with both a level of appropriate pride, balanced with an equally appropriate level of humility.

I have learnt the skills of preparation; understanding the rules of whatever game or competition I am participating in, but more than that competition has been a driver for my own improvement, no matter what competitive sphere I am in.

To determine whether a photography competition or salon is something you should enter, it requires you to do some due diligence.

The PSNZ Sony National Salon by Sue Riach APSNZ ARPS AFIAP

You need to read the fine print, to understand the rules, to consider the intentions or goals of the competition, but perhaps more importantly, to think about your own ambitions and aspirations as a photographer.

 Are you setting a challenge to yourself, to win the competition or to have an image accepted?

 Are you looking to produce images that better communicate your story, your message, your thoughts, your feelings; to make more successful images?

 Perhaps you are looking to create new images from within a fresh genre, and the prospective salon will act as the catalyst?

 Maybe the aim is to measure yourself against other photographers or, to showcase your own work, to “get your name” known.

 It could also be to win the prize.

There are many reasons to submit our work into salons and likely that reason will be a combination of purposes, motivations and intentions. There is a risk, of course, that your images may not make that particular grade.

However, in my experience the risk is generally worth taking. Images that I thought would do well, have not, and conversely images that I added at the last minute have been met with recognition that surprised me.

In times of success, I have marvelled that my name is amongst some of my heroes, and heroines, and the times that I have not met with competition success, I have made it a practice to study and ultimately enjoy the many wonderful images that those judges have deemed worthy, and it is here that I find new challenges, new understandings and new inspiration.

In closing, I am reminded about the purpose stated by those generous and insightful photographers who gave birth to the Photographic Society of New Zealand back in 1952-53.

To acknowledge that even though we have a life that seems often highly complex and deeply worrisome, to be able to share a common interest with others, to be able to see and enjoy the wonderful photography that is possible, and undoubtably unimaginable by those of 1953, is a privilege.

Entering salons should be laced with an element of fun. Meeting with success should make us proud; being a part of something bigger is marvellous.

PSNZ Salons for 2024

SONY National Digital Salon Submissions from 1 June to 30 June

FOUR NATIONS, NZ Selection Submissions from 10 June to 8 July

North Island Regional Salon Submissions from 8 July to 10 August

Jack Sprosen Audio Visual Competition Submissions October (TBC)

Reference List

Matt Payne Photography: Should you enter photo competitions?

FIAP News

From Ann Bastion Hon PSNZ FPSNZ EFIAP/b MFIAP - FIAP Liaison Officer

Black and White Biennial

Thank you to all who submitted their images for consideration for this year’s FIAP B&W print Biennial. The ten images selected for our print set will be decided in the next few days. All contributors will be notified as to whether their images were part of the set or not.

We had a good response and gathered 90 images in total. The set will be printed and sent to India where they will be judged along with all the other countries' entries on 11 August. The results will be sent out by FIAP on or about 11 September, so until then we must be patient.

Nelson National Triptych Salon 2024

Entries Open on 1 July and close on 31 July

Have you been travelling recently to places new and captured images exotic and extraordinary? Or, have you been content to stay nearer to home and cast a careful and selective lens at your local scenery? Alternatively, perhaps you have simply enjoyed the pleasure of staying put in the warmth of your own home, reviewing all those images that you already have on file. Whatever your choice of activity, the chances are that in amongst your photographs there are three that could, when presented together, tell a strong story, reinforce a pattern, or simply make a "sweetsome threesome"! Whether you are an old-hand or a newcomer, the Nelson National Triptych Salon offers rewarding challenges for the creative photographer to display three images that together result in an “out of the ordinary” and “beyond the square” terrific triptych.

Entries to the salon must be made up of three separate images depicted on a common background, in the form of a triptych. A successful triptych will tell a stronger story or provide greater impact than its three single images viewed individually.

The creator of the Champion entry will receive a unique Nelson National Triptych Trophy which is theirs to keep.

There is only one category, “Open”, but the selectors will make three Special Awards for what they consider to be the:

Best Sport Not necessarily the All Blacks in winning mode; it might be a kids' triathlon or action on the mountain biker course. Sports come in a vast variety of forms. There's a world of difference between throwing darts and throwing punches.

Best Morning, Noon and Night We all experience these times and the changes between them. The light changes, activities change, moods change.

Best Monochrome With just one or no colour, your entry needs to be very strong in other aspects to capture and hold the viewer’s attention.

The Presentation Evening for this event will be held on the opening night of the annual West Coast/Nelson /Marlborough Seddon Shield Convention, hosted this year by the Buller Camera Club in Westport on 19 September 2024.

Payment of a $35 entry fee to the salon allows up to six triptychs to be submitted.

The salon has just a few, but very specific rules, so please visit the Nelson National Triptych website and read those rules before creating your triptych masterpiece. Please visit

https://www.nelsoncameraclub.co.nz/ introducing-triptych.html

A Dazzle of Strips by Jo Broadhead APSNZ

Special Feature - Winter Photography

Winter is a time when we often want to simply curl up in front of the heater and wait for the weather to get warmer. That does not mean that we have to put our camera away until spring. In this issue we focus on tips for winter photography.

AI generated image by OpenAI

Photography – on a Rainy Winter's Day!

As winter descends upon us, bringing with it rain-drenched days, photographers often find themselves challenged by the dreariness of the weather. However, beneath the surface of a rainy winter's day lies a wealth of photographic opportunities waiting to be discovered. From the glistening streets to the moody skies, there's a beauty in the rain that is uniquely captivating. Here are some ideas to help you harness the essence of a rainy winter's day through your lens.

Raindrops on windows

There's something inherently poetic about raindrops clinging to windows. Get up close and personal with your camera to capture the intricate patterns they create. Experiment with different angles and focal lengths to highlight the textures and reflections.

Urban reflections

Rain transforms the urban landscape into a shimmering tableau of lights and reflections. Head out to the city streets and capture the mirrored images of buildings, streetlights, and passing cars in rain-slicked pavements. Look for interesting compositions that play with symmetry and perspective.

Street scenes

Despite the inclement weather, life goes on in the city. Use the rain-soaked streets as the backdrop for candid street photography. Capture people navigating through the rain with umbrellas, splashing through puddles, or seeking shelter under awnings. The element of rain adds drama and atmosphere to your shots.

Photo by Max Bender on Unsplash

Sue Wilkins LPSNZ

Nature in the rain

Venture into nature to capture the serene beauty of a rainy day. Explore wooded areas, parks or gardens, and look for rainkissed foliage, dew-covered spider webs, or raindrops clinging to branches. Nature takes on a fresh, rejuvenated appearance in the rain, offering ample opportunities for stunning close-up shots.

Moody landscapes

Embrace the melancholic charm of winter rain by photographing expansive landscapes under brooding skies. Look for vantage points that offer sweeping views of raindrenched fields, forests, or coastlines. Use the subdued light and muted colours to convey the sombre beauty of the season.

Abstract patterns

Rain transforms mundane objects into abstract works of art. Look for patterns created by rain streaks on windows, ripples in puddles, or water droplets on surfaces. Get creative with your compositions and experiment with shallow depth of field to isolate intriguing details.

Photo by Matteo Catanese on Unsplash

Paul Whitham APSNZ

Night rain

Don't let the darkness deter you from capturing the magic of a rainy night. Venture out after dusk and photograph the city, illuminated by the soft glow of streetlights and neon signs. Long exposures can create mesmerising images of blurred car lights streaking through the rain-soaked streets.

Indoor scenes

If venturing outdoors isn't feasible, take advantage of the cosy ambiance indoors. Photograph raindrops trickling down a steamed-up window from the comfort of your home. Experiment with low-light photography techniques to capture the warm glow of candles or the flickering flames in a fireplace.

Portraits in the rain

Rainy days offer a unique opportunity for atmospheric portrait photography. Use umbrellas as props or allow the rain to become an integral part of the composition. Experiment with backlighting to create striking silhouettes against the rain-soaked backdrop.

Emotional impact

Don't forget to convey the emotional impact of a rainy winter's day through your photography. Whether it's the sense of solitude, contemplation or resilience, strive to evoke feelings and tell a story with your images.

In conclusion, a rainy winter's day may present challenges, but it also offers a wealth of creative possibilities for photographers. By embracing the elements and seeking out the beauty in the rain, you can capture compelling images that resonate with viewers and evoke the essence of the season. So, grab your camera, don your raincoat, and venture out into the misty landscape to discover the hidden treasures waiting to be photographed.

Paul Whitham APSNZ

Sue Wilkins LPSNZ

Protecting Your Camera from the Elements

When it comes to protecting cameras from the elements, you will often see different terms used. But are they are not all equal and each has distinct meanings and levels of protection. In this article we will cover what the standard definition of the differing terms means but please be warned that, like anything else in marketing, different brands have their own interpretations of them.

Weather sealing

This refers to a level of protection designed to shield the camera from environmental factors such as dust, moisture and light rain. A weather-sealed camera typically has rubber gaskets, seals, special coatings around its seams, buttons, and openings to prevent water and debris from entering. However, weather sealing does not guarantee complete protection against water, especially in heavy rain or immersion in water. Weather-sealed cameras are best suited for shooting in mildly adverse conditions but should not be exposed to prolonged or extreme wet conditions.

Water-resistant

A camera labelled as water-resistant offers a higher degree of protection against moisture and water than a weather-sealed camera.

Water-resistant cameras are usually designed to withstand exposure to light rain, splashes, and humidity without sustaining damage.

These cameras often have additional protective measures such as sealed compartments for ports and battery compartments. However, they are not completely impervious to water, and prolonged exposure to moisture or immersion in water can still cause damage. Water-resistant cameras are suitable for shooting in moderate outdoor conditions but should not be submerged or exposed to heavy rain for extended periods.

Waterproof

These cameras are designed to be fully submersible in water without sustaining damage. These cameras are tightly sealed and can withstand immersion in water up to a certain depth and for a specified duration, as indicated by their waterproof rating.

AI generated image by Adobe Firefly

Waterproof cameras are often used for underwater photography, snorkelling, and other water-related activities. They have robust seals and construction to prevent water from entering the internal components. However, it's important to note that not all waterproof cameras are created equal; some may have limitations on depth or duration of submersion, so it's essential to check the manufacturer's specifications before using them in water.

In summary, the main differences between weather sealing, water-resistant, and waterproof cameras lie in their levels of protection against moisture and water. Weather-sealed cameras offer basic protection against light rain and dust, while water-resistant cameras provide a higher degree of protection against moisture and

splashes. Waterproof cameras, on the other hand, are designed to be fully submersible and can withstand immersion in water to a specified depth and duration.

Also note that you need to consider both the lens and camera because, based on the way they are built, not all lenses should be treated the same. Understanding these distinctions can help you choose the right camera for your specific needs and environmental conditions.

AI generated image by Adobe Firefly

Dealing with a Wet Camera

If your camera gets wet, whether it's due to rain, splashes, or accidental immersion, it's crucial to act quickly and take appropriate steps to prevent damage. Here's some advice to follow if your camera gets wet.

Power off immediately

If your camera is still on when it gets wet, turn it off immediately. Water and electronics don't mix well, and leaving the camera powered on can cause a short circuit or other damage.

Remove the battery and memory card

Open the camera's battery compartment and remove the battery as well as the memory card. This will prevent any electrical components from being damaged further and will allow them to dry separately.

Dry the exterior

Use a soft, absorbent cloth to gently wipe down the exterior of the camera. Pay special attention to areas like the lens, buttons and seams, where water might have seeped in. Be careful not to force water into any crevices.

Remove lenses and accessories

If your camera has interchangeable lenses or other accessories attached, remove them carefully. Wipe them down with a dry cloth and set them aside to dry separately.

Do not use heat

Avoid using heat sources such as hair dryers or heaters to dry the camera. Excessive heat can damage the delicate internal components of the camera. Instead, allow the camera to air dry naturally at room temperature.

Use silica gel or rice

Place the camera, battery, memory card and accessories in a container filled with silica gel packets or uncooked rice. These materials help absorb moisture and can aid in drying out the camera. Leave them in the container for at least 24 to 48 hours.

Check for moisture Inside the camera

After the camera has had time to dry, carefully inspect the interior for any signs of moisture. Look through the lens mount and battery compartment for any condensation or water droplets. If you see any, continue drying the camera until it's completely dry.

AI generated image by Adobe Firefly

Test the camera

Once you're confident that the camera is completely dry, reinsert the battery and memory card and power it on. Test all functions of the camera, including autofocus, shutter and playback, to ensure everything is working properly.

Consider professional inspection

If you're unsure whether the camera has suffered any damage, or if it's not functioning correctly after drying, consider taking it to a professional camera technician for inspection and repair.

By following these steps promptly and carefully, you can increase the chances of saving your camera from water damage and getting it back to working condition.

Please note that these techniques are recommended when the camera has been exposed to fresh water. If you camera is affected by salt water then it is probably advisable to go straight to a professional camera technician – and check your insurance. Unfortunately salt water will leave a residue behind that may cause issues, especially on electrical circuits.

However, prevention is always the best approach, so be cautious when using your camera in wet or rainy conditions, and consider investing in a rain cover or waterproof housing for added protection.

Shared Experience by Mike White APSNZ 15 mm, f/2.8, 8 sec, ISO 6400 Read more on page 63

Workshop Etiquette

Good etiquette at a photography workshop is essential for creating a positive and productive learning environment for all participants. Here are some guidelines that the PSNZ Council has agreed will apply to all workshops to ensure everyone's experience is enjoyable and beneficial.

Arrive on time

Punctuality shows respect for the instructor and your fellow participants. Arriving late can disrupt the flow of the workshop. If something happens and you are going to be late, or can’t make the workshop, please contact the organisers as soon as possible.

Respect the instructor

Pay attention to the instructor and follow their guidelines. They are there to help you learn and improve your photography skills. Remember that they have given up their time and while they may be receiving a payment this is generally much lower than they would accept for non-PSNZ events.

Follow safety guidelines

If the workshop involves outdoor or adventurous photography, adhere to safety instructions provided by the instructor. Be cautious when handling equipment to avoid accidents. DO NOT venture into any areas that are clearly marked as prohibited (even if you think they are ones that will get the best shot).

Be prepared

Bring all necessary equipment as specified by the workshop requirements. This may include your camera, lenses, memory cards, tripod, and any other accessories. If you are unsure about what is needed then check with the workshop organiser ahead of time.

Respect other participants

Be considerate of others' space and equipment. Avoid obstructing their view or getting in their way when they're shooting. Unless you have been given permission DO NOT shoot over the shoulders of other photographers. This is particularly relevant when shooting models as you can distract them.

Respect the subjects

When photographing people or subjects in public spaces, be mindful of their privacy and obtain consent when necessary. Respect cultural sensitivities and local customs. When shooting a model in a private setting, only shoot one at a time so that the model knows who to concentrate on.

Ask questions respectfully

Don't hesitate to ask questions if you need clarification or guidance, but do so at appropriate times and in a respectful manner. Avoid interrupting the instructor or other participants unnecessarily.

Engage with the material

Actively participate in discussions, activities, and practical exercises. This will enhance your learning experience and contribute to the overall workshop atmosphere.

Share knowledge and experiences

Contribute to the collective learning experience by sharing your insights, experiences and tips with fellow participants. This fosters a collaborative and supportive environment. However, be mindful that you do not dominate, and allow others to contribute as well.

Stay focused

Minimise distractions such as using your phone or chatting with others during instructional sessions or shooting assignments.

Be open to feedback

Welcome feedback from the instructor and fellow participants, and be willing to receive constructive criticism. It's an opportunity for growth and improvement.

Clean up after yourself

Leave the workshop space tidy and organised. Dispose of any trash or belongings appropriately.

Express gratitude

Thank the instructor and organisers for their time, effort, and expertise at the end of the workshop. A simple gesture of appreciation goes a long way.

By following these etiquette guidelines, you'll contribute to a positive and enriching experience for yourself and everyone else involved in the photography workshop.

AI generated image by Adobe Firefly

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 the ability to submit your images for selection in this annual publication.

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

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

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

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

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

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

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

 Ability to promote your website on our website.

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

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

 Discounts for major NZIPP events as a PSNZ member.

 Ability to join a PSNZ Print Circle.

The Potential of Artificial Intelligence for Image Analysis and Advice

By Neil Gordon APSNZ

The photography world has been mesmerised in the last year or two by the increasing ability of Artificial Intelligence (AI) to create or add to images, using what is usually referred to as generative AI. Much less attention has been paid to the developments in the use of AI for going in the other direction – reading and analysing images, and using generative AI to provide comments on them. There have been astonishing developments in this area in just the last eight months.

I’ve been tracking and experimenting with this, and want to share some of my thoughts, as well as provide access to an online system where you too can experiment, just to see how far we have come – but also to be fully aware, through your own experiences, of how these systems currently perform.

At the outset, I want to make it very clear that I am writing this article as an individual photographer and member of PSNZ, and not in any official PSNZ capacity as a judge, or as Chair of PSNZ’s Judge Accreditation Panel. I also want to strongly emphasise that I am not suggesting that such systems should be used for judging.

An AI system is not a person. It does not have feelings. It cannot truly feel emotions from an image, or have any emotional connection with what the photographer is communicating. The essence of photography – its emotion, its narrative, its connection to the sweep of art history – cannot be fully grasped by algorithms. Our human ability to feel, to connect, to interpret within the context of our shared human experience,

remains unmatched by any AI. Human judges or assessors for salons and competitions will continue to be necessary, and provide irreplaceable value for many years to come.

And yet, we cannot ignore what is happening, and how rapid the developments are. It may be that such systems, while not replacing human judges, could still be of value at an earlier stage, taken with a huge grain of salt, to analyse and comment on images in advance of their submission to camera club salons or competitions. Could an AI serve as a preliminary sounding board for our work?

So, the system I've been developing is designed not to judge, but to guide. Imagine it as a fellow photographer, beside you, who is enthusiastic but not perfect, offering tips and insights on how you might postprocess your image, or perhaps re-shoot a photo of a similar genre, before submission. This isn't about diminishing the role of judges, but about enriching our preparatory process with a different layer of feedback.

My system is currently running at https:// image-advice-neilgordon.replit.app. Feel free to try it out. The cost to me per analysed image is around four US cents. I don’t mind bearing the cost of people trying this out. You can optionally choose to donate a small amount to help offset my costs, but this is not expected. I am not doing this as a moneymaker.

The system is updated to take advantage of new OpenAI models as they are released. From 14 May 2024, it uses the new GPT-4o model. All use of this system is private. My system does not log or save the images or any output. OpenAI does not save anything from the call to its API (Application Programming Interface) after it has completed, or used the image or text for training.

I give my AI system a “system prompt” that essentially guides it in how it should analyse and comment on an image that you upload from your own computer or from the photo

The prompt then goes on in similar vein, and asks the AI to be friendly and helpful and always positive. You may find the result a bit wordy, and possibly a bit too forgiving of any faults it notices, but that’s the way I’ve designed it.

You may also find that it sometimes doesn’t get the position of elements in the image quite right. And it can’t necessarily see small technical details, such as sensor dust spots. We are still in early days.

By way of an example, I asked it to provide feedback on the photo in the sidebar from a walk on Otaki Beach. The uploaded file was entitled, “Beach Walk.jpg”, which meant that it assumed the title was “Beach Walk”. Titles can aid both an AI and a person in interpreting images.

library on your device. This system prompt is really important. It starts with:

‘You are an expert photographer and judge. You like to assist, educate, and encourage. You provide succinct feedback and advice on an image, akin to a knowledgeable friend.’

As you can see, the advice provided is helpful and does pick up on a number of points that could improve the image, including the deliberately tilted horizon.

I really do encourage you to try this out, and see what you think. But, please remember that this is not about replacing human judgement, but seeing whether and how an AI system can be used to complement the advice and assessments of humans.

And, as is true with everything in the AI world, watch this space. There are sure to be further AI model developments and improvements to take advantage of. Let's see where this takes us, but never forget that the heart of photography lies in our human connection to the world and to each other.

Analysis and Advice from the AI System

The image titled "Beach Walk" captures a serene moment of leisure, with a group of people and a dog enjoying the vastness of the beach. The reflections on the wet sand add a sense of tranquility [sic] and depth to the scene, while the gentle waves in the background provide a soft, rhythmic contrast to the stillness of the figures.

You've managed to convey a sense of space and freedom that beach scenes often evoke. The placement of the subjects towards the center [sic] works well here, as it allows the viewer to feel part of the group's experience. The dog, caught in mid-action, adds a dynamic element to the composition, suggesting movement and playfulness.

In terms of improvement, you might consider the exposure and contrast of the image. The lighting appears a bit flat, which can be a challenge in beach photography due to the bright surroundings. Playing with the contrast and perhaps the levels in post-processing could help to bring out more detail in the subjects and add some definition to the sky, which seems a bit washed out.

Additionally, while the central composition has its merits, experimenting with different angles or perspectives could create a more engaging composition. For instance, getting lower to the ground might have accentuated the reflections and given a more dramatic sense of scale.

Lastly, the horizon seems slightly tilted to the right, which can be easily corrected with a crop tool to ensure it's perfectly level. This small adjustment would enhance the overall balance of the scene.

Overall, you've captured a lovely, candid moment that many viewers can relate to. With a few tweaks, this image could be even more impactful, drawing the viewer into this peaceful beach walk scene. Keep exploring these everyday moments; there's beauty in the simplicity of such scenes

Photographing Birds in Flight

With Toya Heatley FPSNZ AFIAP

Other than kingfishers and silvereyes, I haven’t really bothered too much about photographing birds in flight. I always found it too difficult to focus on the birds with my shaky hands. On a recent trip to Brisbane to visit family, I decided to spend some time to see if the G9II made the task any easier for me. Backyard birds became my practice subjects once again and, in this case, they were colourful rainbow lorikeets.

I like to learn by doing instead of watching videos or reading books. I enjoy experimenting and adding to what I already know, and adapting to create the conditions I need for my vision. So, after a bit of playing around with the camera, it wasn’t long before I was capturing some beautiful “bird in flight” images – and the bright colours of the lorikeets were really the icing on the cake. Keep reading to find out how I achieved these images.

Study and know your subject.

Rainbow lorikeets are very intelligent birds and while I was studying them, they were watching me too. They quickly worked out just how long I could hold the camera before I had to rest my arms, and it was usually at that point when they would take flight. However, I am super stubborn and started to notice they would dip their heads in the direction they intended going before taking off. I waited until I saw this behaviour before lifting the camera to focus on them. This allowed me to capture the take off as well as the flight. The more you notice about your subject’s behaviour, the better the chances are of predicting their behaviour.

Use the correct focus settings.

Most of my bird photography is done using a tiny single focus point. This allows me to choose which part of the bird I want to be sharp, usually the eye and beak. With birds in flight, I want that and more. So, I changed to multiple focus points with animal/bird tracking switched on. This made it easier for the camera to pick up the bird and track it while in flight. I didn’t get it right first time though. I had loads of images where the bird had flown out of my frame. This takes practice.

Use continual shutter or burst mode.

I generally use burst mode all the time, as it helps me to compensate for my shaky hands. To capture a moving subject, you are going to need more than a single click, so this is an important step. You might get lucky but, more often than not, you will miss the bird if you do not use continual shutter or burst mode.

Speed up the shutter.

Aim for at least 1/1000 sec or above, depending on the speed of your chosen subject. For example, a kingfisher will require a speed of around 1/4000 sec, and I now know that rainbow lorikeets are just as fast!

There are many ways to increase your shutter speed. I personally use a high ISO to achieve my desired shutter speed. It should be noted here that I always, ALWAYS use aperture mode for my nature photography. Manual mode and I are not a good mix, so I just don’t use it. I appreciate that it works well for others, but we are all different and I am a supporter of doing your own thing to achieve the results you are looking for.

Ultimately, the best way to get your shutter speed fast enough is to be where the light is. A bight sunny day can give you great speeds; you just need to position yourself so as not to get too many shadows on the birds. Generally, it is a good idea to keep the sun behind you.

Putting it all into practice.

With all the right preparations completed, then it is up to your level of patience. Great images don’t happen without the preparation work, and they don’t happen if you lack in patience.

Something I enjoy most about bird photography is the time I spend just sitting, watching, and waiting for that perfect opportunity to capture my vision. It is relaxing and fun and, if that is not for you also, then I suggest you try something different.

For future reference, I will be posting this article on my website, https://toyaheatley. nz, under Tutorials, so if you want to refer back to it at a later date be sure to visit my site and bookmark the page. If you have any questions, feel free to send me a message via the website and I will do my best to answer them.

AV Notes

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

Online AV Workshops

We have just finished a successful series of four workshops covering the basic steps in creating an audio-visual. The aim was to complete an AV by the end of these workshops. On the fifth night we showcased eleven AVs which had been finished during the series. Two things really stood out for me that evening: the variety of subjects that were shown and how interesting they all were. Congratulations and thanks to everyone involved. This has been followed by a workshop on adding a voiceover to an audio-visual.

Jack Sprosen Memorial Trophy Competition

This will definitely be held later this year; aim for late October/November. The following changes were approved by the PSNZ Council which will be incorporated into the Bylaw shortly.

Categories

The existing three categories of Documentary; Theme; Poetry, Music and Song will be merged into a single Open category.

Duration

Are you interested in joining a PSNZ AV Group?

This is a preliminary enquiry to find out if there is interest in an Online Audio-visual Group. To start with, the idea is to meet every second month, with a review after a year.

The programme could include challenges; for example, taking all the photos in an hour and creating an AV. We could arrange presentations by various speakers and provide information on topics related to audio-visuals and answers to any questions/problems you may have.

If you are interested in joining, but haven’t been in touch, let us know. Please email me at mcauslanav@gmail.com. I will let you know what the situation is.

The duration of AVs has been standardised to a maximum of seven minutes. Any AV that is longer than seven minutes will be disqualified.

Awards

With the reduction in categories, the Awards will be as follows:

 The overall winner will receive a Gold Medal and the Jack Sprosen Memorial Trophy.

 The runner up will receive a Silver Medal

 The third placed AV will receive a Bronze Medal.

 At the judge’s discretion, up to three Merit Certificates may be awarded.

AI

The use of AI generated images either in part or completely AI generated is not allowed.

These are defined here as images generated using tools such as graphic design, computer aided design and generative-AI software that are not derived from an original photograph captured by the author. The use of an AI generated voice reading a script written by the author of the AV is acceptable. The inclusion of AI generated music is also acceptable. Where AI is used it must be acknowledged in the credits.

International Theme Salon

This is a free-to-enter competition organised by AV Makers South Africa. The theme for this year is Reflection or Reflections. The closing date is 27 October 2024. Details are on their website: https://sites.google.com/site/ avmakerssouthafrica/av-makers-sa

The Long Road to Fellowship

By Vivianne Baldwin FPSNZ AFIAP

The photographic journey to my Fellowship has occurred over several years from the starting point in 2011 when a club member approached me and suggested I try for my LPSNZ. So, I submitted a set – and it failed!

From that point on the journey was about learning new photographic skills and taking every opportunity to take a photo! I tried again for my LPSNZ in 2013 but it too failed.

In 2014 I finally had success! The two failed attempts taught me more than any instant success would have. I realised it is best to have only one or two mentors; any more opinions and conflicting ideas can make decisions confusing. I learnt the importance of colour coordination, symmetry and cohesion. And, of course, perseverance and determination all play their part.

It was a huge learning curve.

The role of Convenor of the 2015 PSNZ Convention in Tauranga kept me fully occupied but by 2016 I attempted my Associate set. I love bird photography so I chose gannets as my subject. I showed my mentors Trish and Alistair McAuslan my choice of images and layout, printed and matted the images and sent them off. I was delighted when I received my Associate on the first attempt.

I decided I would like to attempt the coveted Fellowship and, of course, the subject matter would be gannets! However, my time was limited as I was on both the Tauranga Photographic Society committee and the PSNZ Council, as well as dealing with hip replacement surgery that went wrong. However, I did manage to visit Muriwai and Cape Kidnappers to practise bird photography at every opportunity!

I submitted two Fellowship sets in 2019 and 2020. I learnt much from those attempts, thanks to the feedback from the Honours Board. I needed to be careful about the statement of intent and not choose images because I am emotionally involved.

By 2020 the world had gone mad, and I decided enough was enough. I was NOT going to have another go! Then someone reminded me of the many people who had made numerous attempts and so I thought –one last attempt and that’s it!

In spring 2022 we visited Muriwai and I was pleased with my set of gannet images. That spring we also visited the Coromandel for a couple of days. My hope was to take a photo of a New Zealand Dotterel on a nest; if I was really lucky, I would photograph some eggs. You can imagine my absolute delight when the dotterel obligingly showed off her eggs!

As we started to wander back along the beach I turned and saw dotterels flying. This gave me a good opportunity to practise photographing birds in flight. I had a full frame camera and a 100 to 500 mm lens with a 1.4 extender. This meant I was able to take photos from a reasonable distance but not disturb the birds. The dotterels seemed to be flying at high speed all over the place so there was no time to stop and “chimp”! The birds were totally oblivious to me and I in return was totally oblivious to what they were up to. I was so intent on capturing just one good photo of the birds in flight.

When we returned home, I was stunned at the amazing images I had captured, and the story in photos that unfolded before me. I knew I had captured something very special. While taking the photos I had concentrated purely on capturing the moment.

I was unsure at the time if their activity indicated a territorial dispute, or if it was a mating ritual. I have since searched for answers but there has been no mention of mating rituals or other photos of New Zealand Dotterels displaying similar activities that I can find. Interestingly, my husband was also on the beach but was a few metres further away. He saw dotterels in flight but did not see the action happening near me.

Finalising the set required a surprising amount of work and was very time consuming. First, I had to select the images! No mean task! I whittled the number of images for consideration down to 200, then spent hours selecting then discarding them by putting them together in various set formations. I would ask myself, did these images flow together? Did the set tell a story? Did the flow make sense? Was I too emotionally involved with a certain image? If so, why? Fortunately, I listened to the wise people who talked me out of including the image of the New Zealand Dotterel sitting on the eggs!

The next step was to colour coordinate the images so that they flowed together. I was told to try Lightroom – it’s much easier, they said. I came to the conclusion that Lightroom hates me as much as I hate it, so returned to my friend PSCC and Adobe Camera Raw. Originally I had wanted to submit a print set, but circumstances meant it had to be digital due to lack of time.

I would like to encourage others who are considering going for their honours. Remember, it is about your photographic journey and what you learn along the way rather than the destination. Ask for help, and seek a mentor you can talk to. They will be able to offer encouragement and support along the way.

Special thanks to my husband Richard Baldwin LPSNZ who has supported me throughout my photographic journey, for believing in me and encouraging me. Thanks to Trish McAuslan FPSNZ EFIAP/b FAPS AV-AAPS and Alistair McAuslan APSNZ AV-AAPS for their continuing support and encouragement over the years. Thanks to Linda and Sue for cheering me on and to the Tauranga Photographic Society for all the learning along the way.

Footnote: In September 2023 we returned to the Coromandel and after a chance conversation with two DOC workers discovered that, sadly, not a single New Zealand Dotterel fledgling survived the 2022 to 2023 breeding season along that coastline.

FAQ – Using PSNZ Judges for Club Competitions

By Neil Gordon APSNZ, Chair, PSNZ Judge Accreditation Panel

PSNZ accredited judges, and trainee judges, are available to assess competitions or salons run by our 56 affiliated clubs. They work on a completely voluntary basis, assessing images and preparing critiques, and they take a lot of work to complete.

A rough estimate is that every year PSNZ judges probably judge around 400 competitions and write or deliver critiques for some 12,000 digital images or prints. Whew –that’s a lot of work, especially considering that, in total, even experienced judges will average around 15 to 20 minutes per image for a proper assessment and critique.

We realise that club competition secretaries are also volunteers, and some may be new to the role, so we thought it would be worthwhile to provide, in FAQ form, some useful pointers on how best to go about using PSNZ judges.

How many PSNZ judges are available?

We currently have 53 PSNZ accredited judges, as well as six trainee judges.

Where can I find a list of judges?

After logging in as an affiliated club via the PSNZ Website login link, scroll down to the bottom of the page where there is a menu item to “Search for … PSNZ Accredited Judges”. This lists all the contact details. You can click on the header for any column to sort by that column, and if you click on the Post Code column that may help finding judges who live nearest to you. You can also find this list if you log in as a PSNZ member.

What

about trainee judges?

The Secretary of the Judge Accreditation Panel (japsecnz@gmail.com) can be contacted about using trainee judges. Trainees complete their assessments under the supervision of an experienced judge mentor.

How do I find a judge for my competition?

The best way is to contact prospective judges individually, and ask. It pays to do this early – the year before, because the diaries of many judges rapidly fill up in advance. If you do contact a number of judges in one email, please use bcc: for the full email list so that others don’t get spammed by accidental “reply all”. You can also contact the JAP Secretary, who will be delighted to have more opportunities for trainees.

What information should I provide a prospective judge?

The judge will need to know

 What the club competition rules are, including all the information noted below

 Whether this is digital or prints or both

 How the judging results can be delivered (e.g., written comments; recorded audio; video link; in-person)

 Whether an online judging system is being used

 The date (not just the month) that they should expect to receive access to the images, or receive the prints

 The date that results are due back to the club. (This should be at least three weeks after the judge can first access the images.)

 The date of presentation of the results to the club, especially if this is an in-person or video link judging

 Roughly how many images are involved. (This should usually be no more than 40.)

What if I expect to have more than 40 images to be assessed?

That may be all right if the images are just going to be rated or awarded, with no critiques prepared. Some judges may also be willing to accommodate, by agreement, writing critiques for up to 60 images. But, as a general rule, it is not reasonable to ask a volunteer judge to prepare critiques for more than 40 images. The images could be split between two different judges – e.g., one judge for prints and another for digital images, or one for the top grade and another for the other grade(s).

What should be in the competition rules?

The main thing the judge will be looking for in the rules is guidelines on how you expect them to assess the images. Some of the things that are important are

 The club criteria (definitions) for various award levels, from “Accepted” typically through various steps to “Honours”

 Whether those criteria depend on the grade of the entrant

 Whether there is any expectation of the number of awards at each level

 The criteria for any use of “Not Accepted” or “Not Awarded”, and whether that depends on the grade of the entrant

 The definition of any set subjects, and how strict the interpretation is

 The specifications for digital images (pixel dimensions)

 Explicit exclusion of the use of generative AI for an image or elements of it

Should I follow up with the judge nearer to the competition time?

Absolutely – it is always a good idea to contact the judge a month or two before the competition, just to make sure they are still available. This can also be a good time to send any updated competition rules, double check that the postal address for prints is correct, and confirm the date when they will receive access to the entries and the date results are expected back by. Another check-in with the judge a week or two before the competition can also be useful.

What is important about sending prints by courier?

When sending prints, unless the judge is going to return them personally for a presentation, always include a return courier ticket and return address label. You should also email the judge when you have couriered them, and ask them to confirm receipt when they get them.

What is important about receiving prints back, and results?

Just as you should expect the judge to acknowledge receipt of prints, always let them know when you get them back. Also, please acknowledge receipt of emailed results. Emails can go astray into junk or spam, so it is good practice to thank the judge for their work at this time, and confirm that you did receive their results.

Do I need to provide a template for written critiques?

Yes, please. If an online judging system isn’t being used, written critiques are often returned as a document. This should be provided as a template for the judge to fill out, with a list of the titles of the images, identification of the grade, and whether the image is set or open, and with space for the award for an image as well as for the written critique. This template may be as a word processing document (e.g., Word), or a spreadsheet (e.g., Excel).

Do judges expect a thank-you voucher?

A voucher is always appreciated when a judge presents results personally, to help pay for travel costs. Otherwise, what is most appreciated is a thank-you email or card after the results have been presented to the club.

Anything special about online judging systems?

Systems such as Visual Pursuits generally seem to work well, but sometimes a judge can be accidentally locked out of it before they have completely finalised their work. Please provide a mechanism to restore full access if this is the case, rather than expecting them to edit a printout or similar.

Should I fill out the online feedback form?

If you are using a trainee judge, it is absolutely essential that you fill out the form at https:// photography.org.nz/judge-assessmentquestionnaire/. Receiving this feedback is an integral part of the training process. You can also fill out the form for accredited judges –all feedback is welcome. In particular, please fill out the questionnaire if you have had issues with a particular judging, rather than posting comments on the PSNZ Facebook page, which can be very demotivating for our volunteer judges who all do their best.

What to Do with Your Aurora Photographs

By Mike White APSNZ

On the night of 11 and 12 May 2024, a powerful geomagnetic storm raged in the upper reaches of Earth’s atmosphere, producing a display of aurora across the world, in an event that has been labelled one of the strongest storms in some 500 years! A large number of aurora chasers were out, watching and capturing this once-in-a-lifetime event in the skies above New Zealand. In this article, Mike White shares some tips on processing your aurora images from that night along, with news of an exciting project based on this event.

It wasn’t just seasoned aurora chasers getting the best views either. Folk from right around the country were seeing amazing images pop up on their social media feeds and were heading out with family and friends to witness a memorable display of the Southern Lights from their own backyard. While photographs will always show more colour and detail than what we can see with our naked eye, it was still something not to miss out on, being a part of what was to become a global event as day turned to night around the world. Photographs have been taken in such places as the Florida Keys, New Caledonia and Namibia. Incredible!

So let’s assume you were out there on that night, and now have a memory card full of photographs. What will you do with them?

As we all get around to processing our images, no doubt this event will continue to feature in social feeds for some time to come, until the next big event anyway.

But, how to process them? As we know, the processing of photographs is just another step in the journey of an image, through concept to capture to processing to sharing. There are technical and creative choices to be made and, as most of us are doing this for reasons other than scientific observation, we have a fair bit of leeway in how these choices are applied. As with any image, we need to start with some basic questions. Why did I make this photograph in the first place? What emotion am I trying to convey? What do I want the final image to look like?

I would suggest that, for many of us, our impressions of what an aurora should look like are coloured by the vivid swirling greens of an aurora dancing above northern hemisphere skies. In movies and television, scenes featuring a night sky are often coloured in shades of blue. So it’s probably no surprise that we lean towards these colours when we start processing our own photographs. It’s what we’ve seen, learned and remembered about how the night sky and aurorae should look (that is if we spend more time exposed to the screen rather than the real night sky above).

Many of us would have been surprised, on the night of the 11 and 12 of May, to discover images with deep, saturated reds appearing on our lcd screens. Yet red the skies were, thanks to the power of the storm raging above our heads. I was lucky to have been far enough south, that the colour of the aurora was clear to see – something that I’ve only experienced on a couple of occasions, and never this strongly, during ten years of chasing the lights. For more northern observers in New Zealand, you may not have seen the colours of the aurora as clearly, or perhaps only saw a milky grey and white appearance. Your camera’s sensor, however, would have recorded the aurora in all its colourful beauty.

And again, because this was such an incredibly powerful storm, we were treated to a whole spectrum of colour at different points of display and sometimes all at once. The colour of the aurora is determined by the type of gas molecule that’s being excited in the upper atmosphere. Different combinations of oxygen at different altitudes produce the typical greens and reds. Nitrogen can produce blue, pink or deep crimson colours. Perspective, atmospheric haze, light pollution and other effects can result in colours blending, shifting and ultimately producing a kaleidoscope of colour.

So when you’re processing your images, ask yourself, how do I want to handle colour? Do I want to create an image that’s true to my perception of what an aurora should look like? Do I want to retain the full palette of colour present on the night? Do I want a desaturated image that more closely reflects the naked-eye viewing experience? Do I want a soft, pastel-toned image that captures a feeling of peace? Do I want a vibrant, punchy image that reflects the excitement of the night? Are you sharing images to a scientific publication or contributing to citizen science? Only you will know the answers to these questions. And the answers should guide you in your processing choices.

Careful now, gently does it!

However you decide to approach the colour processing of your images, do be mindful for a few giveaways that you’ve taken things a bit too far.

• Colour blocking: solid colour where no detail or gradient is present.

• Colour banding: visible change from one colour to another rather than a smooth, transitional gradient.

• Out-of-gamut colours: consider whether or not the colour palette of your image can be accurately represented when displayed or printed.

• If you’re going for a surreal or ethereal feel to your image, pushing the saturation or vibrance sliders even higher isn’t going to help.

The use of global adjustment tools like Contrast, Dehaze, and Clarity as well as Vibrance and Saturation can all lead to the issues above. I’d suggest a cautionary approach, adopting the principle that less is more.

If your colours feel like they’re getting out of control, make use of the Colour Mixer panel where a colour’s hue, saturation and luminance can be adjusted individually. The Calibration tab (found at the bottom of the Lightroom Develop module panels) also offers powerful, global colour control. Adjusting the image’s White Balance can have a dramatic effect on the resulting image too (but it can also result in the total override of colours if used to extremes). However, the White Balance Selector (eyedropper) might be next to useless in a sky completely covered in colourful aurora, but more useful if you have areas of clear, dark space (or other neutral area) that can be used as a reference. (Look for patches of clear sky at the top of your frame where there’s less atmospheric disturbance.) Just remember that adjusting the Colour Balance affects the whole image. Using Lightroom’s various masking tools is a great way to apply adjustments to specific parts of the frame.

Increasing the Highlights slider has the effect of both brightening the image and desaturating the colour palette. It can help the aurora to stand out a little more from the background. Increasing the Shadows can let us see more detail in the foreground of your image. Adding a subtle vignette can keep our eye in the centre of the frame rather than wandering off to the sides.

One advantage of Lightroom is the ability to make virtual copies. Make the most of this functionality to create different versions of an image. Once you’ve completed your initial processing, step away from the screen and let your eyes readjust to the “normal” colours of our everyday world. Then come back to your edits after a cup of tea, or even a good night’s sleep, and see if you still feel the same way about your editing choices.

Once you’re satisfied that your image matches your creative vision, then it’s time to share it with the world. But I’m not just talking about the digital world, I’m talking about the real

world. The world where you can see, touch and feel an actual physical representation of your work. I’m talking about printing your experience of a once-in-a-lifetime event.

Many of you might now be members of the Aurora Australis (NZ) community on Facebook. There, I recently announced the launch of a book project that is aimed at curating a collection of images taken on the night of 11 and 12 May 2024.

There has been a significant improvement in the quality and accessibility of photographic technology in recent years, enabling an incredible number of people to take images of the event. Digital cameras were still in their infancy 20 years ago. This is the first time in history that so many people have had the knowledge and capability to witness and make their own visual record of a significant aurora event. However, the nature of social media is that the interest will fade rapidly as the next thing comes along and the uploaded images will be consigned to the digital back room.

A photobook project provides an exciting opportunity to produce a lasting reminder of an incredible event and allows contributions to be made from across a broad community – 130,000+ followers in the Aurora Australis (NZ) group alone! Keep an eye out on the Aurora Australis (NZ) group (https:// www.facebook.com/groups/NZaurora) for announcements and updates on that project. We are aiming to have it published before Christmas this year.

Clear skies!

Drawing the Line with AI

By Paul Whitham APSNZ

Firstly, please note that this is a personal opinion and should not be construed as the official position of PSNZ. There is currently a working group within PSNZ trying to nut out a solution.

In the April 2023 edition of CameraTalk I wrote about the thorny issue of AI with regard to competitions. When I wrote that piece we were mainly dealing with image generators that created whole images, often with telltale signs. Since then, the technology has advanced at a rapid rate and is now being incorporated into the programs that many of us use all the time. The latest is that Generative AI has been introduced into Lightroom in the form of its remove tool.

Now PSNZ has come out with a clear guideline that states that all of the elements in an image have to be the work of the photographer. This effectively eliminates using “Generative Fill” to introduce new elements.

But, what about when we are referring to tools or techniques that are used to edit an image? This is a lot more complicated.

We can’t simply say that certain techniques are not allowed because the terminology may not be clear. For example, in Photoshop the “Remove” tool uses what it finds in the image to fix the areas, and does not go out to the Adobe servers. However, the new “Remove” tool in Lightroom does use the servers, as well as a credit system, in exactly the same way that “Generative Fill” works in Photoshop. The only difference is that in Lightroom you don’t get the option to enter text.

The issue that we all face is how to know when an image has been altered and then whether that alteration is allowed or not. While the simple answer is that you can ask for the RAW file, that is only going to show that an alteration has been made, and not the techinque used to do it.

I did a little experiment to see if differences could be easily seen in a lightly edited image. All of the edits here took less than a minute to do. Please note that all have issues that taking more time in the edit would have resolved.

This is my base image, with some obvious intrusions that need to be removed.

Prior to 2010 my only option in Photoshop was to use the “Clone Stamp”.

This technique has always been allowed as it is deemed that we are moving around pixels already in the image.

Then in October 2023 the “Remove Tool” was introduced which could handle much more complicated images. As AI had now become a buzz word, Adobe said that it was powered by AI.

The tool processes on your own machine and analyses the image so therefore this technique is allowed.

In 2010 Adobe introduced “Content Aware Fill” and while initially it was very limited, they kept improving it to the point that it now does a reasonable job of taking out elements.

This was essentially using AI but at the time Adobe called it “Adobe Sensei”. While the tool worked well on plain elements, it did struggle with more complex images.

This technique is allowed.

Finally, we have an image where the “Generative Fill” tool has been used, but with nothing entered in the text prompt field.

While it has gone to the servers it is difficult to say how much it has simply used the existing image as a base.

Technically speaking new content has been added to the image, so this technique maybe breaches the guidelines.

As you can see, all the images are very similar, so how does a judge work out whether AI has been used?

As I mentioned before, asking for the RAW file will not solve the problem.

The common answer is that there are tools on the web that will analyze an image. The problem is that they are not very good. I gave two a try and the results were extremely poor.

One tool stated that my AI-altered image had a high probability that it was created by a human. The second tool said that there was a

94.3% chance that it had been created using AI.

But, before you get too excited, it also said there was an 87.83% probability that the unaltered base image was AI-generated.

The reality is that until something is baked into the metadata at a point where it can’t be stripped out, then we simply have to rely on honesty in sticking to any rules set.

Meghan Maloney Landscape Workshop

Reviewed by Amilie Bentley

Our landscape photography workshop with Meghan Maloney in Dunedin is one I will remember fondly. A group of 14 keen landscape photographers from all around Aotearoa New Zealand, as far-flung as Northland to Invercargill and everywhere in between, began on a cold, brisk Friday afternoon in Dunedin.

After introductions and a short teaching workshop with Meghan, we jumped into our vehicles – some with Meghan in the van and others in their own cars – and journeyed our way to Mt Cargill for a sunset shoot! The weather wasn't looking too promising to start with and we all positioned ourselves at varying angles/points from the near 360 degree view of Dunedin and beyond. Just when we thought the colour was the best it could be, suddenly pinks of all tones stretched across the sky, awing us all! Click, click click, our cameras went with excitement and joy!

Amilie Bentley

Ted Grenfell

The next morning we left our accommodation at 5.45 am to travel to Moeraki Boulders for a sunrise shoot. Unfortunately, by the time we arrived two other photographers were blocking part of our view of the boulders, so we had to be creative to find a different angle of the boulders and sunrise. Unfortunately; one of our photographers got a bit too close for comfort to the sea water and sand, including myself when it came to lying on the beach to capture the boulders through a glass globe.

I stood up and some sand landed on my camera, but I was saved by Meghan's blower to breeze away the sand in the most unwanted places. The other participant wasn't as lucky, but she didn't let this bring her down and was able to shoot the rest of the weekend. It goes to show that a photographer's attitude, outlook and creativity make all the difference when things go wrong sometimes.

Amilie Bentley

Ted Grenfell

After a hearty breakfast nearby, we sought out Karitane Beach. I was a bit too enthusiastic and nearly got lost, but no rescue was required – just a tardy return to the group, but with a few more photos from different spots on the beach instead! I'm grateful to the team for their patience as I arrived ten minutes after the appointed time! Yes, for that session, I was THAT person.

Sunset wasn't a goer that night, due to poor weather conditions, but we were up again for sunrise, this time at Brighton Beach. The sunrise wasn't so stunning, but we captured other scenes instead, such as the waves, land topography, layered rocks and birds, such as pied stilts and oystercatchers.

In each editing session with Meghan we all learnt something new. We made great friends and Ted Grenfell the PSNZ rep and a Dunedin local, was always cheerful, enthusiastic and helpful. He was a great guide for those of us unfamiliar with Dunedin! I highly recommend attending this workshop next year, especially if you like seascapes, sunrises and sunsets, and sights of the great South!

Amilie Bentley

Amilie Bentley

Ted Grenfell

PSNZ Canon Online Photographer 2024 Round 4 Results

By John Hawkins, PSNZ Canon Online Coordinator

The Winner!

Congratulations to Deborah Martin, ASPNZ AFIAP winner of the Canon Online round 4 for 2024. There were 121 entries in this round.

About Deborah and her winning image...

I feel very honoured and extremely excited that The Kingfisher’s Tale gained first place, especially as I have been struggling to find my mojo after some 2024 health blips. Heartfelt thanks to the judge for seeing and feeling what I did with this image.

Before I found my happy place as a photographer I was a printmaker, and for a while I even combined the two. Somewhere along this path I discovered that my voice was able to be heard more through my photography artwork than through printmaking, so I sold my press and bought a flagship Nikon camera.

The starting point for my art is always a strong sense of connection to something my eyes have seen and my heart has felt. Usually, it will have a bird in it. I enjoy combining layers of images that have always originated from my own photos.

I prefer not to use anything but my own work as this gives me a sense of ownership and satisfaction as a creator and photographer. It also means I can use my work in national and international competitions. Nature photography also attracts me as it means I can focus on my skills in camera as a creative photographer rather than spending lots of time post processing.

The camera settings for The Kingfisher’s Tale were 1/4000 sec, f8.5, ISO 560, focal length 650 mm. I used a Nikon Z9 with a Nikon Z 180-600 mm lens and teleconverter for this shot. I knew the second I saw the sequence that this was destined to become a triptych, in this case a composite image triptych, not straight nature. Now you see it, now you don’t - the story of a bird photographer's life.

The judge for this round was Judy Stokes APSNZ.

About Judy...

Stepping into the photographic world 14 years ago as a positive and creative activity to do with my then 16 year-old daughter started something that has led to many hours of fulfillment and happiness. I soon found I leaned towards photographs that didn’t look like photographs but more like paintings – and the Pandoras Box of the ICM world opened for me. Creative landscapes, seascapes, anything really to do with wildness and nature; they draw me in and call to be photographed. For me gear is secondary and my camera, always with me, merely a tool to enjoy being creative and appreciate the beautiful world we call home.

Judge’s Comments

Judging this Canon Online round 4 competition has been a wonderful privilege. I have enjoyed the range and quality of the images entered and I`ve appreciated the chance to look at the world we all live in together through all your different and unique lenses.

1st The Kingfisher's Tale by Deborah Martin APSNZ AFIAP

I felt the crafting of this image was superb. Added to this I enjoyed the feel of decisive moment and strong instinct for design and balance, with just a touch of wit added as the icing on the cake.

2nd Entering Wonderland by Julia Rae APSNZ

What a glorious moment of escape this image portrays… and the feeling of being taken to a wonderland within the pages is tangible. The clever details within this finely honed composite image allow us to believe the story and be transported to this moment lost in imagination.

3rd At 8.30 pm by Jennifer Burton

Within this quirky image I find a wonderful story and mood are portrayed. I love everything about the hero of the image – all fingers and thumbs with his device, wearing his hat with style at 8.30 pm and sporting socks and sandals with aplomb. The figures behind the glass make me think they are an urban tableau and I enjoy the interplay of feet. For me the strength of this image is its uniqueness.

4th Just Lying in Wait by Jo Broadhead APSNZ

What an unusual, almost abstract, nature image this is. I feel the light negative space around the almost, but not quite symmetrical subject matter, allows us space to be drawn in and allured by the quality of the face with its markings, exquisite eye and menacing tooth for our attention to fixate on! The image has a quality of stillness about it which matches the story happening within it.

5th Play With Me by John Shuker

The amount of camera movement used for this ICM image is perfect to allow us to see the story but enjoy the painterly quality of the scene. The tilt of the dog’s head, the angles of the person’s hands and the stationary ball just waiting to be thrown, all form a wonderful moment against a skillful seascape. I feel the choice of making this image with intentional camera movement adds to the image and turns it into a work of art.

What could be a slightly gruesome realistic story of nature has been transformed into a beautiful portrayal of a special moment. The white of the eye catching our attention within the swirl of water spray and the fish almost reverently held by the bear are for me the focal point of the image, backed up by the wonderful detail of the spray both of water and blood, the fur, the nose and mouth and the river. What a special moment to be part of and have the privilege of capturing.

The light and use of colour tones within this skillful multiple exposure image create an enticing scene for the viewer of this image to enjoy. Textures, shadows and hints of forms all add to support the hero of this image – the delightful autumn tree up front and central, ready to charm.

6th Alaska Brown Bear by Janice Chen APSNZ

7th Autumn Delight by Jo Curtis APSNZ

Sue Henley LPSNZ

For me this image shows quality, skill, patience and a wonderful choice of decisive moment– all the things on a photographers bucket list! The result is a polished nature portrait to be proud of.

9th Troubled Soul by Kirsty Wilson LPSNZ QPSA AAPS

Layers of symbolisim – clever use of monochrome mixed with splashes of colour – form and light used to push and pull our eyes within this image. I find you have created a strong impactful and unusual portrait image here, that each viewer can interpret in their own way.

8th Shoveller Duck by

10th Discovery by James Sim

I can feel the coolth of the scene and the joy of noticing something for the first time with this image. For me the stance of the person, looking upward, draws our attention to the magic of the waterfall. I feel the composition, with the lovely framing of the scene and the use of light and shapes to lead our eye and keep it within the image, is beautifully skillful.

Keep warm & safe this winter