CameraTalk October 2023

PRESIDENT

Paul Whitham APSNZ

m: 021 644 418

e: president@photography.org.nz

SECRETARY

Janet Munnings LPSNZ LRPS

m. 022 163 0379

e. secretary@photography.org.nz

EDITOR & GRAPHIC DESIGN

Lee Boddington

c. 021 215 2823

e. leestuartcreations@gmail.com

w. www.leestuartcreations.co.nz

SUBEDITOR

Lindsay Stockbridge LPSNZ

t. 06 348 7141

m. 027 653 0341

e. dilinz@actrix.co.nz

ADVERTISING

Aston Moss LPSNZ

m. 021 272 7866

e. aston.t.moss@gmail.com

NEXT CAMERATALK DEADLINE

25 November 2023

Email your contributions to the Subeditor. Editorial should be sent as Word or .txt files, with images sent seperately from document. 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:

Pawan by Lee Boddington

In this issue

The October 2023 issue of CameraTalk has some wonderful workshop reviews, and informative camera reviews. It does not have a specific theme but covers a range of topics:

• An informative article titled 'Understanding the Magic of Macro'

• A great review on the Fashion Lighting Workshop with Aaron Key

• An articulated article 'The Fujifilm GFX 100 II'

• An introduction to our new council member - Bob Scott LPSNZ

• PSNZ Canon Online Round 4 Results. Check out the stunning images which took the top spots.

• Honours recognitions

Our next Issue (December 2023): As ever we are happy to hear from all members with ideas and articles.

Tulip by Moira Blincoe

A Note from the President

Spring has sprung although, as I have been writing this, winter has been well and truly making a lastditch attempt to make her presence known.

As this issue of CameraTalk comes out we will be only weeks away from the National Convention in Lower Hutt. It seems like an absolute age since the last one and, while the number of registrations is down, I am sure that everyone will make the most of their time and enjoy themselves.

Conventions provide a great opportunity to learn from the fantastic speakers that we have on offer, test out all the latest camera gear and have the opportunity to talk indepth with our Trade partners. It is also the perfect opportunity to catch up with old friends or meet new ones. The old adage is true that you only get out of an event what you are willing to put into it, and I would encourage everyone to go full-bore for the whole weekend.

As I have mentioned before, this is the first convention to be organised by a central committee. It will largely be run by members of the PSNZ Council, as a host club could not provide the number of people needed. So if you see people running around trying to organise something, take the time to say ‘Hello’ - because they possibly are your Councillors.

Convention is also the time when we acknowledge the achievements of those members who were successful in this year’s honours applications. The overall number of entries was up slightly on previous years; this resulted in the Honours Board needing the full amount of time to make their assessments. Planning for the weekend is always difficult in that the Secretary has no idea how many sets will be submitted until entries close. The last set this year arrived with just two minutes to spare — talk about cutting it fine!

To make their job a little bit easier, we are currently considering whether, in future years, members would complete an intention document ahead of the time when submissions open. This will not bind members to submit but will give the Secretary some indication of the potential numbers expected.

It was pleasing to see the awarding of five Fellowships, the highest accolade within the Society. It was also testament to the quality of the feedback provided by Honours Board Chair Bruce Girdwood FPSNZ; at least two of those sets were resubmitted after being unsuccessful in 2022.

For those of you who are not and who were not successful, I personally know the pain. However, when you receive the feedback you will gain a clear understanding of what the Board is looking for and how to improve. Don’t give up – try again!

All the honours sets are on the PSNZ website for members to look at. Over the next year, the Honours Board is going to focus the education programme on overall issues that were identified, such as poor post-processing at the LPSNZ level, and what “advanced photography skills” mean at the APSNZ level.

We are heading towards the end of a very successful 2023 workshop series. The number and variety of sessions on offer continue to grow each year and we are already planning the 2024 series. Special thanks go to Councillor Mark Burgess FPSNZ and his team of Nicole Tai LPSNZ and Jayne Parker for the work that they put in to make these events happen.

I understand that there was a good turnout of Auckland members on the day hosted by Panasonic LUMIX at Auckland Zoo, where they launched their updated G9II. It is great to see a Trade Partner putting on an event specifically for PSNZ members.

Toya Heatley FPSNZ AFIAP was one of the lucky few who were given a pre-production model of the camera to try out ahead of time. I understand that she has written a review of the camera and that it will appear in this issue. I also believe the camera has been added to her Santa’s wish list.

Production of New Zealand Camera is moving along and I was lucky to receive an advance copy of the publication. It continues our tradition of producing a high-quality publication. All things going to plan it will be out to members sometime in November.

Finally, it was great to catch up with a number of club presidents via Zoom and to discuss several matters concerning the way that PSNZ is operating. Clubs form a very important part of PSNZ and they

Key Dates for the Diary

October 19 Convention Fieldtrips

October 20-22 National Convention - Lower Hutt

October 25 Canon Online Round 1 Closes

provide the progression route that most individual members of PSNZ have followed. Council is holding a planning day on the day before the convention begins, and the issues raised, both in the meeting and in subsequent surveys, will form the basis of our decisions. These will be advised to all members in due course.

Best regards,

Paul Whitham APSNZ

November 10-12 ICM Creative Imagery Workshop with Judy Stokes APSNZ

November 25 Entries Close for CT December 2023 edition

December 25 Canon Online Round 2 Closes

February 24-25 Creative Portraiture Workshop with Charlotte Johnson

Club News

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

Understanding the Magic of Macro with Gail Stent FPSNZ

By Moira Blincoe LPSNZ

You know when a PSNZ workshop sells out in 24 hours that the subject and tutor are in popular demand. Such was the case when the registrations opened for Gail Stent’s creative macro photography workshop, held in early September at Auckland’s Eden Gardens.

competent photographer knows, including focus points, correct choice of apertures, composition, awareness of background (materials, interference, noise), and lighting. There are some essential tools needed for good macro photography, including extension tubes, diffusers, reflectors, and various forms of lighting e.g. off-camera flash, portable lighting cubes and more.

To achieve creative images, using more advanced techniques, Gail’s presentation included how to focus on multiple items; create multiple exposures; shoot through objects; use a slow shutter and intentional camera movement.

Macro, close-up and flowers are some of my key passions and with Eden Gardens being very close by, it was a no-brainer for me to register. Fourteen members joined Gail and PSNZ host Jayne Parker for the day’s workshop.

The gardens were in full bloom with tulips, camellias, hellebores, magnolias, and many other flowers, so we were spoilt for choice when it came to the practical application of Gail’s theory.

Tucked comfortably away in a private garden room, Gail shared the theory and technical details for creating good macro or close-up photographs and explained that true macro is a reproduction of 1:1 or more, of your subject matter. For me, while I feel I’ve been doing macro, it’s mostly close-up photography, which is a tightly cropped shot that shows the subject or object up close, and/or in part.

Gail’s technical tips for creating good macro photographs covered most of what any

Throughout the day we dispersed into the gardens to practise what we had just covered, and at times this proved more difficult than many anticipated. I was not alone in trying to master manual focusing on a flower, while minutely rocking backwards and forwards until the image appears sharp, then clicking the shutter. All the while keeping the body steady, holding your breath, but trying not to pass out!

Shooting Through by Moira Blincoe LPSNZ

Hellebore Viens by Moira Blincoe LPSNZ The Model Fly Handheld Macro

For Auckland-based Stephen Long, floral photography was a departure from the closeup food photography he usually shoots. He said he enjoyed the day and found Gail to be “knowledgeable and interesting”.

‘I was particularly interested in how she makes her creative images and was pleased to learn more about multiple exposures and how to process them in Photoshop,’ he said.

Te Awamutu member, Wendy Pemberton LPSNZ travelled up for the workshop and wished she could have ‘stayed at the gardens and the workshop for another full day’.

‘Gail was fantastic at sharing her skills so freely and I learnt how simple everyday materials can be used very creatively in photography. It was a fabulous workshop and I will have fun putting everything I've learnt into practice. As Gail said, keep practising.’

Wendy also expressed surprise at finding out how much detail she could capture without using a tripod, just by having the correct camera settings.

I think there were many “light bulb” moments for most participants, at how specific creative photographic styles can be achieved without the need for fancy gadgets or expensive accessories. Some of Gail’s accessories that she shared with us included plastic bags, strips of fine netting fabric, light cubes, tinsel paper, and coloured papers. In fact, the two-dollar shops can be a creative macro photographer’s best friend.

Since the workshop, I’ve been in the garden trying to practise some of Gail’s techniques. As Gail said, practise every day and I can certainly see I will need to make space for an hour of macro photography in my already busy days, to perfect my skills.

As everyone said, the one day was not enough, so it looks like Gail’s workshop could easily stretch to two, if she’s available!

Our thanks to Gail for an inspirational workshop.

Multiple Exposure by Stephen Long

Tulip by Moira Blincoe LPSNZ

Macro by Moira Blincoe LPSNZ

Fashion Lighting Workshop

Reviewed by Paul Whitham APSNZ

“Primes give you bigger balls” was one of the memorable pearls of wisdom given by Aaron Key at the fashion lighting workshop held in Auckland. Participants came from as far away as Nelson to learn how to photograph models using a mixture of studio flashes, constant lights and natural light. There was a real mix of skill levels with some being very confident with lighting and dealing with models, to those that had no experience at all.

The Grey Lynn Library hall was an excellent venue, apart from the fact that the main room did not contain a single power outlet. We had extension cords running in all directions.

After an introduction to shooting models using his camera tethered to television, the twelve participants were broken into six teams of two. The intention was that three teams would be shooting while the others were on a break. Unfortunately, the plan had to be modified when the third model did not arrive.

Paul Whitham APSNZ

Karen Triggs LPSNZ

Paul Whitham APSNZ

Alan Ofsoski LPSNZ

Aaron had set up two shooting stations inside. At the rear of the hall he set up two lights, with umbrellas in front of model Zoe and one behind her to light the wall. After some issues with the batteries in the lights he intended to use, he had to switch to a large powered pack unit. While very powerful this needed a cable to connect to the camera, and this presented issues for those using mirrorless cameras, especially when the camera would only show the scene without flash.

pose for the camera. This made it quite easy for the group and provided quite a different approach from Zoe who had little experience in front of the camera.

The other station had a single constant light on a plain background, with our male model Pawan standing between two panels that could be changed from white to black depending on the look you were going for. Pawan was a very experienced model who knew exactly how to

Lee Boddington

Lee Boddington

Alan Ofsoski LPSNZ

Lee Boddington

The third group was supposed to shoot outside but most decided to watch proceedings inside. The prospect of photographing each other was apparently not all that appealing.

Lunch for the session was provided by local café Postal Service and was the subject of some debate. We were served vegan beef bagels that you would have been hard to believe were not the real thing.

After lunch, Aaron had managed to arrange for a third model, Monnie, to arrive. This enabled the afternoon session to run as planned.

The plain backdrop was changed to a different colour and an additional speedlight was used to provide a “fill” by bouncing it off the wall opposite. Zoe was positioned on this station.

Paul Whitham APSNZ

Karen Moffat-McLeod APSNZ

Paul Whitham APSNZ

Alan Ofsoski LPSNZ

Shelley Wood LPSNZ

At the end of the hall, Aaron built a wall onto which he strung a whole series of fairy lights. Monnie was positioned about four metres away from the wall and lit with a single light.

By the end of the day, everyone had a whole series of images to use and I believe they went away happy with the results. We thank Aaron and also Sony who made this workshop possible. The partnership has seen Aaron present each year that PSNZ has run the workshops.

Finally, for those wondering what the introductory quote referred to, it was the size of bokeh generated when you used lights at the back of the subject, such as the fairy lights.

Lee Boddington Shelley Wood LPSNZ

Karen Triggs LPSNZ

Lee Boddington

Paul Whitham APSNZ

Lee Boddington

THE FUJIFILM GFX 100 II

THE BEST JUST GOT BETTER.

BY TONY BRIDGE FPSNZ, ACPP (DIST.)

BACKGROUND

Before 2019, when Fujifilm introduced the flagship GFX 100, if you wanted to shoot medium format digital, there were very few options. A complete kit with a camera and lenses could set you back in excess of $100k. Many of these models were challenging to use and required separate camera and back batteries. For that reason, they stayed niche, the province of high-end commercial, portrait and fashion photographers.

Enter Fujifilm with their GFX range. Their first camera, the GFX 50S, went on sale in 2017 for around $NZ10 000, almost $40,000 less than the competition. It was a game-changer. Suddenly, medium format was available to a much broader range of people. It was also mirrorless and required a single battery to power both the sensor and camera body. They followed it up in 2018 with a rangefinder styled 50r. In 2019, Fujifilm brought out the flagship GFX 100 with a 102MP Bayer sensor, whose initial price was a *relatively affordable* $NZ18000 for the camera body. Suddenly, professionals, for whom any purchase must generate a return on investment, could shoot much higher quality images than were possible with full-frame.

Fujifilm has continued to develop the medium format GFX series rather than swim in the congested 24 x 36 pond with the other camera manufacturers. In many ways, it is their point of difference. Now, there is an excellent range of lenses and cameras at different price points, and entry into the system is price-wise at least comparable with shooting high-end full-frame. In some cases, it is cheaper.

Of course, with a sensor 1.7 X the size, there is a real quality gain over the smaller format. Bigger pixels mean better quality and the possibility of better dynamic range.

For a time, the GFX 100 faded into the background, and the rumour mill wondered for a long time when its replacement would come along, what it would look like and how good it would be.

Enter the GFX 100 II in September 2023.

INTRODUCTION

One of the joys of being a Fujifilm brand ambassador is that I get to work with cameras from time to time before they are officially released. For three weeks over July and August 2023, I put the GFX 100 II through its paces. It gave me time to get to know the camera, although prerelease models usually come with

no manuals or instructions and sometimes dodgy beta firmware.

This review is written from the point of view of using it to make photographs, of actually working with it. There are any number of reviews online which will take you deep into the specifications and functionality of the camera. This review is about using the GFX 100 II to make pictures.

SOME KEY DIFFERENCES (AND SIMILARITIES)

I can imagine the design team at Fujifilm sitting around a table looking for an answer to the question:

“How can we make a great camera better?” Perhaps they made copious notes on a whiteboard, brainstorming as they went, and then set themselves to incorporate as many as possible into the new camera.

The first and obvious thing when looking at it is that they have separated the camera and grip, which is now optional rather than built-in. You can now choose to go body-only or buy the optional battery grip, which will give you two extra batteries. This gives a total of three, including the one in the body and duplicate controls for shooting in portrait orientation. As part of my test driving, I shot a formal portrait of an elderly couple. Having duplicate controls on the grip meant that instead of having to cock my elbow like a demented duck, I could hold the camera and close and avoid camera shake. I can imagine fashion portrait and wedding photographers insisting on having the grip. The other thing is that the camera uses the new NP235 battery. In my testing, shooting uncompressed RAW and superfine JPEG, I found that 600 shots rarely used half of one battery. This means, in theory, that a set of fully charged batteries could deliver over 2,000 frames. Handy if you are a wedding photographer.

The camera retains the detachable viewfinder from its predecessor and the EVF-TL1 EVF Tilt Adapter option to allow shooting in waist-level mode. Of course, there is a possibility of using the tilt-out LCD instead. With the old model, waist-level shooting with the LCD was somewhat frustrating since the viewfinder tended to block part of the screen. A new mechanism on the GFX 100 II allows you to tilt the LCD further out from the camera body and thus avoid having a view blocked by the viewfinder.

The eye-level viewfinder is now a whopping 9.7MP, up from the 5.x MP of its predecessor. It’s

impossible to understand what a viewfinder can be until you look at what is before you on the new camera. Colours are brighter, tonalities are more subtle, and the differentiation between hues is much easier to determine. Fujifilm seems to have left no stone unturned in its efforts to produce a camera to a standard rather than a price.

But wait. There is more.

The camera now gives you a choice of a UHS-II SD or a CFS Express Type B card (or both). When you realise that the camera can now shoot 8 frames per second, each file weighing in at a modest 500 MB, the possibility of buffering is highly likely. When you note that Fujifilm has taken the excellent subject recognition algorithm from the H2-S, with its ability to detect faces, animals, birds, aeroplanes and cars, it’s evident that a lot of data will be loaded into storage. The camera has the new processor, and combined with the data transfer speeds of the CFX Express cards (up to 1700 MB/sec), I found that burst shooting yielded no transfer lag at all. However (and I didn’t go near the video functionality), when you learn it can shoot 8K/30, all that horsepower will be necessary. To that end, Fujifilm offers a cooling back for shooting extended video.

On the left-hand side of the camera, you’ll find a full-size HDMI port, an ethernet port so you can shoot directly to the cloud (Frame.IO functionality is built into the menu system) and a USB-C port, which you can choose for charging or recording data. While I didn’t try it, I suspect that rather than shell out for expensive CFX Express Type B cards, I might use a Smallrig cage with a portable 1TB SSD clipped onto it.

Fujifilm has moved away from the X-H1 and GFX 100 design philosophy, which tended to be polarising, especially amongst the Fujifilm community members who love their knobs, dials, and retro look. While the menus are still classic Fujifilm, the left-hand side on the top now has a PASM dial, which lines it up with other members of the GFX line and most other camera brands.

Then there are the little things that are important to a working photographer. To my mind, the engineers at Fujifilm have worked hard to create a camera which will perform on every level, whether used in the field or studio.

The shutter button is much faster, resembling the instant response of a DSLR. It requires very little pressure to trip and exposure. The shutter is much more quieter than its predecessor. Gone is the solid clunk of the old model, replaced by an almost imperceptible quietness that would make this a fabulous camera to use when shooting a wedding, especially the vows at the altar.

Focusing is phenomenally quick and accurate. Again, there is that feeling that you’re working with an oversized DSLR. While the GFX 100 was about 70% accurate, the new model is close to 100%. While the former occasionally misses focus, the new one is consistently accurate. Shooting with zone focus, I found no frames that weren’t perfectly focused. Even when burst shooting, I never saw a soft file. Using eye focus, it tracked evenly and consistently when shooting portraits. The eyes were ALWAYS super sharp. Of the 5,000 frames I shot, not one missed focus.

The round buttons on the old model have been replaced by squared-off switches, making it look both retro and yet ultramodern. The polarising grey patina of the old model is gone, and it now shares the soft touch black feel of its stablemates.

The top LCD panel is tilted slightly upwards, making it much easier to read when working off a tripod or even handholding. It’s such a noticeable improvement that I can’t believe other manufacturers haven’t done it. It’s all the little things that can make a huge difference when using it day after day. Even the way it feels in your hand is somehow better. I have big hands and often hate cameras simply because the body is too short, and my little finger is looking for somewhere to place itself. It’s hard to quantify, but somehow, the new camera just sits comfortably in my hands as if it was meant to be there. The camera grip is deeper and easier to hold, and the buttons are positioned in such a way that your hand naturally finds them. There is also a feeling of ruggedness and durability that suggests you don’t have to treat it with kid gloves and worry about being kind to it. It’s a camera you would happily toss onto the passenger seat in your car and not worry about.

IMAGE QUALITY AND NOISE

Once the word got out that I’d been testdriving it, several of my friends and colleagues who also run the old model rang up, wanting to know what I thought of it and whether it was worth the upgrade. The new model is a little cheaper than the old, retailing at $NZ14,999 for the body and a further $999 for the grip. That still makes it $2000 cheaper than its predecessor. I imagine as time goes by, that price will drop. However, those numbers mean you’ll think long and hard before committing to it. Two questions kept being asked by them:

How does the image quality compare, and what’s the noise like?

When the camera arrived for testing, I didn’t have my tripod and had to shoot everything handheld. I wasn’t disconcerted since, with eight stops of IBIS, I could probably get away with murder. And so it proved. Of course, I examine my pictures at 100% in postproduction (Lightroom), and anything less than perfect is rejected. When everything looks razor-sharp at 200%, I know I’ve nailed the shots. Then, I can take the file in any direction I like. I was expecting camera shake (it is a heavy camera, after all) and occasionally missed focus. With the GFX 100II, I have files shot handheld at 1/20s, which look perfect at 200%. The IBIS is that good.

My usual way of shooting is to use aperture priority mode and leave the camera to sort out ISO and shutter speed. I really wanted to see what I could get away with. The portrait of Rod, the barista (see the crop), was shot handheld at 1/20 of a second at ISO 3200, and, put simply, all the fine details are there, and any noise so minimal that it could be easily fixed in postproduction. I would confidently shoot up to this ISO for even fine-detailed work. Up to 1600 ISO, any noise is virtually non-existent. While the pixel count hasn’t changed, it is a new sensor that can render very fine details yet hold shadows and highlights better than its predecessor.

When I began shooting with it, no raw converters were available, so I opted to shoot RAW plus superfine JPEG until one became available, which it did towards the end of my time with the camera. Adobe’s Camera Raw was the first cab off the rank, and while it does an excellent job, I can’t wait to see the results from using Capture One, a much better Raw converter for Fujifilm cameras. I was also incredibly impressed with the SOOC (straight out of camera) JPEGs, which have that distinctly Fujifilm look. The skin tones were some of the best I have seen.

One morning, I found myself in Paihia, in the Bay of Islands, and, with time to spare, I wandered around making photographs, predominantly with the stellar GF 30mm wide angle. When I made a photograph of a building on the waterfront, the power of this camera and the files it could make came home to roost (literally and figuratively).

When I returned to my computer and opened the file, I zoomed to 100% and wandered around the file. I noticed that the writing on the sign on the downstairs wall was super crisp and sharp, needing only a minimum of sharpening. Then I went to 200% to see how good it was. While dragging the magnifier across the small dormer windows protruding from the roof, I noticed the tiny brown bird sitting on the bracing, enjoying the morning sun. While the camera can’t show me the feathers, it’s clear that the small brown bird is perhaps a ruru, enjoying a little morning warmth before heading off to bed. I’ve seen this shot printed up as an A0, but I’m positive it has mural potential.

So what’s the message here?

If you know what you’re doing and are on top of your shooting game, then the GFX 100 II can deliver gob-smacking levels of detail. A great camera is like that. It sits ahead of you, patiently waiting for you to catch up.

WHO IS IT FOR?

While testing the camera, I asked myself this question time and again. After all, you’re looking at a significant outlay to get into the system at this level, somewhere between $25-30k. That said, kitting yourself out with a high-end fullframe and array of lenses will probably be in that ballpark without the advantage of the larger sensor.

An affluent amateur would have a camera system they could grow into for many years.

This camera would be a perfect workhorse for a professional photographer. A commercial shooter, doing everything from product to aerial, would find nothing to criticise. A high-end wedding and/or portrait photographer would quickly recover their return on investment because of the remarkable files the camera can produce.

It would be an ideal camera for a professional who had secured a Super Rugby contract. It’s fast enough to shoot the game in play while perfect for portraits of teams and “fishheads” (officials).

Landscape photographers will love this camera, especially those passionate about recording details and fussy about accuracy. They will also love the dynamic range in its ability to cope with extremes of light.

Fine art photographers will also go for it since it is capable of emulating the extraordinary detail, contrast and resolution of largeformat film without resorting to an array of postproduction trickery.

CONCLUSION

Since returning the camera to Fujifilm NZ, I’ve thought about my time with it. I’ve tried to think of any shortcomings in its design and build quality, and I can’t think of any.

Not. A. Single. Thing.

There are giant leaps forward regarding the new shutter, focusing speed and accuracy, and its ability to shoot video. There are other wonderfully welcoming ergonomics, a phenomenal viewfinder, and the ability to add an optional battery grip. These are bold moves. However, there are also minor improvements that could go unnoticed, yet they make a world of difference when looking at a camera that “just works”. My favourites were the tilted top LCD panel(such an obvious thing) and the ability to record externally.

However, what finally got me was the sense of companionship and sense of loss when it left me. Many cameras want to take charge and exact a price for what they can do. Other cameras instantly befriend you and want to work with you. Time and time again, in my time with the camera, I would find myself wandering around looking for things to photograph for another reason than I could and because the camera Just. Felt. Right. There are very few cameras like that out there.

As I see it, the old GFX 100 was the best offering for a long time.

Now the best has got better.

ABOUT THE AUTHOR Tony Bridge is a writer, poet, photographer and Fujifilm X-photographer (brand ambassador).

Matthew Chen LPSNZ

By Lindsay Stockbridge LPSNZ

Is he the youngest-ever PSNZ honours recipient?

Born in 2005, Matthew loves photography and studies it at King‘s College in Auckland. His award-winning photos have been displayed by various outlets. He created a website to expose the world to a personal perspective through his lens. You’ll find him at www.matthewchen. co.nz.

- Finalist, Auckland Photo Day

- Auckland regional winner and National Finalist, 48 Hours Film Festival.

His work has been featured in NZ Camera 2020 & 2021, King's Courier, New Zealand Geographic, Auckland Photography, Australian Photography, Excio Journal, FromThe Pit 5th Anniversary AV Exhibition at Parliament NZ.

He has supplied work to Special Olympics New Zealand, The Red Bow, Sunshine Christian Kindergarten, Urbano Interiors, Best Western Greenlane, Alexander Inn and King's College.

I asked Matthew to share his life story…

He is of course a PSNZ member and he belongs to the Auckland Photographic Society. He has a list of achievements, including

- Winner of the Waitakere Art Award

- Shortlisted for the Australia Junior Photographer of the Year

- Winner of the Tony Butler Memorial Prize for Photography

- Awarded Top in the World for Cambridge AS Level Art & Design.

- Category Winner and Finalist at the DDB

Marcel Young Photographer of the Year

- Winner, Student category at the Sculpture Park at Waitakaruru Arboretum

‘I started photography, ironically, when I cracked my sister's camera around 2013! My mom made me work to pay for the repairs, and it is this that fostered my interest in photography. Since then, I have been taking photos for the fun of it. I enjoy photography because I found that I was good at it but also it allowed me to be observant without being “weird” – holding a camera in public gave me some sort of comfort when I was young. For the past three years, I have been studying photography as a school subject.

‘Photography and improving in photography has always kind of been a solo thing for me because none of my friends are super into photography. I have had some mentors throughout the years, including Gail Orgias

LPSNZ and Lynda Leng LPSNZ who have graciously supported me in my LPSNZ portfolio since 2021. I am especially grateful to my mom for relentlessly supporting my random and sporadic photography trips and expensive gear, and also to my sister who ushered me into this amazing art.

'I also want to thank Debbie McLachlan, my photography tutor, who has tirelessly guided me in my personal growth and school photography portfolio, awarded “Top in the World”. I am also thankful for those who have provided opportunities to hone my photography skills, from family friends and local organisations that believed in me, to my private clients. All of these people have helped me not only develop my photographic skills but also helped me grow as a person in general, and I am eternally grateful. This is why I created Pixie Dust, a non-profit organisation that I am currently

working on. It connects creative students with non-profit organisations and small businesses (http://www.pixiedustnz.org). I hope more kids can take advantage of the goodness that comes from being a photographer.'

‘My next stage is university, where I hope to study a combination of Commerce and Design.

‘I started with a hand-me-down Canon EOS 750D. After working as a private event photographer part-time, I now use a Canon EOS R5. My favourite lens is the 24-70mm f/2.8 because it is versatile while suiting my photographic style perfectly. A lens that I would like to explore more is a 50 mm f/1.8 that I obtained recently. I hope, using this lens, I can explore a different style of portrait photography that is more “dreamy” and euphoric.’

Nelson National Triptych Salon 2023

The Nelson Camera Club is pleased to announce the awards from the 2023 Nelson Nation Triptych Salon. Although entry numbers were down slightly, the emotional strength and artistic calibre of the entries were as high as ever. This didn’t stop new photographers from testing their skills by making a visual creation using more than one picture to convey a message.

The three selectors were Carolyn Hope FPSNZ ANPSNZ, Keith Seidel GMAPS EFIAP/b, and Meg Lipscombe FPSNZ.

In choosing Burning by Sarah Smith LPSNZ as the Champion entry, the selectors recognised the strength of its three panels comprising different captures that were strongest when placed together – the whole became greater than the sum of the parts.

Keith also mentioned, ‘For me, this was the one which had an emotional resonance that

went beyond the pictorial value of each panel. For an Australian, it just screams bushfire, with each panel beautifully balanced to reflect the oppressive and claustrophobic nature of being surrounded by flame.’

This year the presentation evening was incorporated with the Top of the South Seddon Shield Photographic Convention, hosted by the Marlborough Camera Club. This meant a greater mix of attendants coming from the West Coast, Buller, Tasman, and Marlborough areas.

We would like to thank all those who participated in the salon, and we hope that you had some fun! Now it’s time to plan for next year's salon. For more information on this event and to view the AV, please visit https:// www.nelsoncameraclub.co.nz/2023-results. html.

Champion

Burning by Sarah Smith LPSNZ

Best Work

Fantail Hunts by Heather O’Brien LPSNZ

Best “The Meeting”

Met Her at the Dance by Catharina Mail

Best Monochrome

Brain Storming Meeting by Jan Boag LPSNZ

Honours

A Dazzel of Stripes by Jo Broadhead APSNZ

Brassicart by Barry Doig FPSNZ EFIAP

Lapping it Up by Deborah Martin APSNZ

Rest in Peace, Dear Planet by Caroline Foster LPSNZ

Skate Rap by Dianna Hambleton APSNZ

Highly Commended

Adrenaline Rush by Deborah Martin APSNZ

Ascending in the Counting House by Bob Scott LPSNZ

Barbed Wire Kisses by Dianna Hambleton APSNZ

Conjunction Station by Dianna Hambleton APSNZ

Of a Feather by Jo Curtis APSNZ

Incoming by Lorraine Gibb APSNZ

Washday Blues by Noelle Bennett APSNZ

32nd National Photojournalism Competition

This annual project, organised by the New Brighton Photographic Club, is an affiliated PSNZ national competition.

Entries for 2023 were down on previous years but, as the judges commented, the overall quality was up, with only two images not accepted.

The total number of images was three hundred and fifteen, entered by fifty-five individual photographers. The distribution between the two sections was only marginally more for the Sport and Action category.

Congratulations go to our 2023 winners:

– Martin Sanders LPSNZ. His image The Bookbinder won the Maree Turner Trophy for Street Photography & Social Commentary.

– Deb Owen, winner of the Sport & Action section and the Ted Walker Trophy for her image Mind Your Head.

Scoring was quite even across the three judges, with limited discussion and only for images that fringed, or almost, the rules of competition. Discussion afterwards, over refreshments, related to the use of AI editing and whether it will be an accepted part of the strict photojournalism ethic in the future. The jury is still out on that. A big thank you goes out

to our judges John Thornton, Peter Seymour and John Hoeben – who did an outstanding job.

The New Brighton Photographic Club also extends its thanks to all those who took the time to enter the competition. We look forward to 2024 and more of the same quality and variety.

The New Brighton Photographic Club also extends its thanks to all those that took time to enter the competition and look forward to 2024 and more of the same quality and variety.

New Councillor - Bob Scott LPSNZ

‘I had the good fortune to study photography under Phil Barclay as the art unit in my teaching qualification studies. During that time I belonged to the Manurewa Photographic Society for four of five years. Then life and travel got in the way of photo clubs until I settled on Waiheke.

‘In 2012 I was a founding member of the Waiheke Photographic Collective and worked in the organising group until its reduction to a loose informal group once Covid hit.

‘I have enjoyed being a PSNZ member since 2010 and manage to gain acceptances in the National Exhibition each year. I have also been an enthusiastic contributor to the North Shore and Laurie Thomas Salons. I gained my LPSNZ in 2015.’

Bob has been a member of PSNZ since 2010 and gained his LPSNZ in 2015. He will take on the role of Councillor for Salons and will be responsible for PSNZ salons, the Sony National Exhibition and regional salons' together with Interclubs and international salons. He has assisted Council for the last four years to organise the PSNZ 4 Nations Intersociety competition. Bob has contributed something from his photographic journey.

‘I have been a photographer since the age of seven when my mother gave me a Kodak camera as I left for boarding school. Since then I have used it and many subsequent cameras as a record-keeping device, with a mindset of trying to make each image a “good” photograph.

FIAP Distinctions 2023

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

It is with much pleasure that I announce this year’s FIAP Distinctions. These members have worked towards their distinctions by entering world competitions and gaining acceptances and often medals. They have been putting their work up against photographers in salons held in countries all around the world.

Each distinction has a required number of acceptances in different salons and different countries and are lifetime awards.

Congratulations to you all.

If you would like to know more about the process, contact me at ajbastion@gmail.com.

In addition to this, both Deborah Martin and Liz Hardley have had images selected for storage in the FIAP cloud based collection. You can view previous images selected from NZ as well as other countries at http://collections.fiap.net

Prints for 2024

Next year 2024 will be the last year to apply for FIAP distinctions under the old rules and will require acceptances in prints for AFIAP (4), and for EFIAP (12)

I will be calling for members who intend to go for FIAP distinctions to contact me in May next year. The completed and checked dossiers will be sent to FIAP on 1 September.

Markham Mail APSNZ AFIAP

Vivianne Baldwin FPSNZ AFIAP

Andy Rae APSNZ EFIAP/b

Liz Hardley FPSNZ EFIAP/p

Deborah Martin APSNZ AFIAP

Judge Training Weekend

We are delighted to announce that there will be an online Zoom Judge Training Weekend on the 4 and 5 November 2023.

This is an opportunity to participate and see what the process is for gaining accreditation as well as what the judges are looking for when they assess salon images. You will gain an insight into what is involved, how to view images, critique and communicate the results to the photographer.

The trainers for this weekend will be Neil Gordon APSNZ and Annette Johnston FPSNZ. The sessions will run from 9:30 am (for 10:00 am) to around 4:00 pm each day.

The cost is $50 for financial PSNZ members, and $75 for those who are not PSNZ members but do belong to an affiliated club. If you decide to join the scheme and become a trainee judge, then a refund of $25 will be given once you have completed the training and have gained accreditation.

As this is an online course we are only able to accommodate up to 15 people, so please do not delay as it is on a first come first served basis.

https://photography.org.nz/salons-galleries/ judge-training-weekend-registration

PSNZ Accredited Judges

News from Paul Byrne FPSNZ ARPS AFIAP Chair, PSNZ Judge Accreditation Panel

PSNZ Council is very pleased to announce that,

Robyn Carter LPSNZ

Adair Wilson APSNZ

Lynda Mowat LPSNZ

have successfully qualified as PSNZ Accredited Judges.

Congratulations to each of them. Their contact details have been added to the Accredited Judges List which is accessible via the PSNZ Website.

Panasonic LUMIX G9II – a Review

By Toya Heatley FPSNZ AFIAP

August has passed without my posting very much on my blog, or on social media, but there was a very special reason. I was busy playing with a new toy! A box arrived on my doorstep at the beginning of August, containing a preproduction version of the new Lumix G9II and the new Leica 100-400 lens. I had a month to play with this kit to see what I could do with it and play, I did.

modes and tracking features. The camera locked onto either the bird’s eye or the entire body very easily, making focusing so much easier in low-light situations like the bush that I frequent. This was a big improvement on the G9 autofocusing system. The new Hybrid PDAF is a feature that has me loving this camera on its own.

I am not going to go into all the technical details of this camera; you can find them all on the Panasonic website. I am instead going to tell you about my personal experience playing with this amazing camera. Something that I noticed right away was the incredibly fast burst

Also, in areas where the light was too bright, the birds were dark in colour and I felt I was only getting silhouettes of the birds. I was able to pull out all this colour (image above) from the shadows. Images that I might have tossed in the bin in the past have now become viable images.

For me, one of the best features is the way the camera now buffers images while shooting. Gone are the days when I would shoot one burst and then have to wait until the buffer cleared or it finished writing before continuing. Many a shot was missed because of this. I may be a little heavy on the shutter, but I get the images I want because of this. Now the camera continues buffering and writing and I can keep shooting at the same time! Fast cards are important here, but it is time I replaced all my old cards anyway – they do have a limited lifespan.

The screen on the back of the camera displays the most amazing colours, making it very easy for me to see if my settings are correct and

I am achieving the image I want. Viewing the images already on the card was a breeze. I travelled about with the G9II hoping to find all sorts of different opportunities to use it, but the August wet weather really slowed me down. Instead, I played with some light painting inside and I spent a lot of time photographing the silvereyes through the dining room window.

It was hard giving this camera back last week, but I will be adding the G9II to my kit as soon as they are available. This is one fantastic upgrade I do not want to miss.

PSNZ Canon Online Photographer 2023 Round 4 Results

By John Hawkins, PSNZ Canon Online Coordinator

The Winner!

Congratulations to Janice Chen APSNZ, winner of the Canon Online round 4 for 2023. There were 96 entries in this round.

About Janice and her winning image…

It’s a thrill to have won round 4 of the Canon Online for 2023.

I have been into photography for many years. I started by photographing my son’s music performances and concerts many years ago. Other parents just loved my photos, even though I was only able to shoot in auto mode.

Joining local photo clubs, regular competitions and workshops has helped me improve my photography skills. I learnt from many good photographers who were happy to teach me. I am deeply honoured to have gained my APSNZ last year.

My picture was taken under Niagara Falls on a boat cruise, with birds flying and playing in the mist. I took hundreds of photos there, and the camera was wet in the spray. I wanted to express the feeling of power I had at that moment. I like the feel of this image with the lone bird flying towards the thundering falls.

The judge for this round was Trish McAuslan FPSNZ EFIAP/b FAPS AV-AAPS

An introduction to Trish: Photography has always been an important part of my life, so when we retired to Tauranga in 1999 I was delighted to join the Tauranga Photographic Society and PSNZ. Shortly after that I began teaching photography classes, both in person and online, until Covid changed things. I am a PSNZ-accredited judge for open, nature and audio-visuals, and I enjoy the opportunity to help members learn more about their craft. I like the challenge of taking a wide variety of photographic genres without becoming a specialist in any one field. Currently, my main interest is in using some of the thousands of photos I have taken to create audio-visuals and photo books.

Judge’s Comments

The images submitted for this round were all interesting, but the brief was to pick the top ten and that was a tough ask. I went through all the images several times and selected about 20 that I thought were possibilities. A few days later I refined that selection and a day later I wrote my comments about each image, refining my selection even further. One observation I would like to make is that regardless of how good an image is, if there are marks on the images caused by dust or other dirt on the sensor, these “dirty” images will be overlooked in favour of images which have been well presented. Always carefully check your image for any unwanted distractions before submitting it.

I really like the contrast between the powerful waterfall and the fragility of the bird which is so small in this context. Presented as a black and white image means we are able to concentrate on the story rather than being sidetracked by any colour. The memory of this image stayed with me long after the computer was closed.

1st - Flying by Janice Chen APSNZ

The appeal of this image is in the contrast between the hard lines and shapes of the building with the softer light and shades of the lighting. There are interesting little features to discover, such as the exit sign on the left.

2nd - Cubism by Cliff Threadgold FPSNZ ARPS

This is a beautiful landscape which is sharp throughout the image. My eyes immediately go to the buildings on the right and then wander to the snow-clad peak in the background, before coming down to the reflection and back to where I started. There is so much detail to explore and enjoy on the way.

3rd - Reine Reflections by Jane Barnes LPSNZ

Metikurke

I have no idea where Williams Creek is but that doesn’t matter. I am immediately taken to a number of outback places I have visited or read about. There is no vehicle in sight which hints at the isolation. The single light highlights the pumps which advertise 24-hour fuel. The bright sky and the distant horizon hint at huge empty spaces.

4th - Williams Creek by Sushrutha

LPSNZ

5th - Lady and the Umbrella by Jenny Mitchell

I like the softness of the trees and the path which invites us into this space. In contrast, the lady with the umbrella is sharp. Overall the colour palette blends together beautifully.

There is a feeling of peace and serenity in this scene. The mists hide anything in the background that would be distracting, leaving us to enjoy the visual quietness of the trees and their reflections.

6th - Misty Weiti by Brian Eastwood MNZIPP

7th - Horizons Now by Barbara Lee APSNZ

For me, the appeal in this image is the strong golden colour and the opportunity to explore the shapes of the land, the tree and the moon. There are layers of memories. Thoughts of sandhills at sunrise in Death Valley, trees which appear to be dying but who stubbornly live on, on Mt Ruapehu, and the moon rising above a hilly landscape which recedes into the distance.

- Drink Me Small by Julia Rae APSNZ

I love the creative story, from the bottle with the spilt liquid which I am sure had “Drink Me” on it. Now she is so small and the key is so huge that she is no longer able to reach the keyhole. The image has been beautifully taken and composed.

8th

I enjoyed the strong graphic nature of this image and the mirrored curves of the vase and its shadow. It is a simple image which really appeals.

9th - Flow by Dianne Kelsey LPSNZ

- Waxeyes In Combat by Sue Henley LPSNZ

This is an image with three strong elements and nothing else to distract from the story. The detailed branch provides an interesting base. The middle bird is standing on the branch with its foot raised and its attention focused on the aggressor. The third element is the beautifully detailed attacker.

10th

Honours

PSNZ is pleased to congratulate the following who were awarded Honours this year. These will be formally presented at the Convention this month. The sets can be viewed on the PSNZ website in the Honours section.

Alan Ofsoski

Alison Metherell

Anita Ruggle-Lussy

Barbara Newton

Catherine Lowe

Chrissy Lawrence

Christopher Ford

David Vale

Douglas Mitchell

Glen Thomson

Glenys Steegh

Jacqui Stokes

Jan Boag

Jeff Mein Smith

Jennifer Crawford

John Benn

Jude Foster

Julia Seagar

Karen Triggs

Kirsty French

Kushalitha Maduranga

Leo Kwon

Leslie Feasey

Licentiate

Linda Mannix

Lynne Roberts

Mark Roxburgh

Martin Barwood

Matthew Chen

Michael Byrne

Nicholas Munnings

Nicola Guy

Nicole Tai

Penelope McCaul

Robert Green

Roger Ball

Sharon Souproanuck

Steve Bradley

Sue Henley

Sue Wagenaar

Susan Davies

Suzanne Marsh

Terry Brunton

Tracy Reid

Wendy Pemberton

Zhen Yang

Associates Fellowship

Chris Blincoe

Gordon Speed

Ian Purden

Jack Horlock

James (Jim) Embury

Kate Beauchamp

Peter Dunbar

Rachel Hume

Robert Weir

Gavin James

Karl Tretheway

Kathy Richards

Martin Richardson

Vivianne Baldwin

Welcome to Our New PSNZ Members!

Dina Nicolaides

Andrew Spencer

Hannah Ellis

Linda Coster

Ann Milne

David Brewer

Louise Kibby

Shane Kibby

Racheal Western

Jasmine McEwen Pittam

Jon James

Jodelle Leatham

PSNZ Membership Benefits

• Expert advice and continual education to help improve your photography.

• The opportunity to achieve a Society distinction (Licentiate LPSNZ, Associate APSNZ, Fellowship FPSNZ).

• The opportunity to apply for FIAP (International Federation of Photographic Art) distinctions via the liaison officer. (PSNZ is a member of FIAP.)

• The opportunity to attend PSNZ Workshop Series events annually.

• A complimentary copy of New Zealand Camera, and the opportunity to submit your images for this publication.

• Access to member-only resources, including a member only – PSNZ Facebook page.

• The opportunity to enter images into national and international competitions.

• Discounts to Society activities (e.g. annual PSNZ national convention, workshops, international competitions).

• The opportunity to participate in regional club meetings and events.

• A copy of our bi-monthly members magazine – NZ CameraTalk

• The opportunity to exhibit your work in regional and national exhibitions (e.g. PSNZ Sony National Exhibition).

• Subsidised access to judge training workshops through the Judge Accreditation Programme.

• Ability to promote your personal website to our members.

• Regular blog posts to stay up to date with the latest news on events, activities and special offers.

• Product discounts and savings from our corporate partners and associated companies.

• Discounts to some NZIPP national events.

• The opportunity to join a PSNZ print circle.