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 November 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:
From the Grace & Movement Workshop by Matthew Diesch
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
President's Piece
By Caroline Ludford LPSNZ ANPSNZ LRPS
What an incredible time we had at the Northern Regional Convention held in Gisborne over the weekend of 20-22 September. I want to extend a huge thank you to everyone who attended, contributed and helped make this event such a success. Your passion, creativity and participation made this convention a memorable experience for all.
Special thanks to Rachel Hume APSNZ, Councillor for Events, who worked tirelessly to ensure everything ran smoothly. Also to Aston Moss LPSNZ who was our awesome MC for the weekend.
From the inspiring talks given by Michael Bradley, Meghan Maloney, John Cowpland and John Drummund, to the engaging workshops run by Annette Johnston FPSNZ and Paul Byrne FPSNZ ARPS AFIAP, we were treated to a phenomenal weekend of fun and breathtaking photography. We had some stunning images on display and we couldn’t have asked for a more enthusiastic crowd. A huge thank you to our hosts, Gisborne Camera Club, and the amazing team led by Julia Rae APSNZ. You did a fantastic job. Thank you to Hannah Jairam who was the official photographer for the weekend. Funding from Trust Tairawhiti and hospitality from Deputy Mayor Josh Wharehinga ensured a very warm welcome.
It was awesome to see so many connecting, learning and sharing the love of photography.
There’s much more information, including photos, in this bumper issue, so please sit back and enjoy.
We couldn’t run our conventions without the support of our generous trade partners, and we thank Sony for their contribution to the Regional Convention. We look forward to working with CRK, Canon, Fujifilm, Nikon, Lumix, Epson and Photo Warehouse in the coming months, and their generous support for the National Convention in May.
Mark your calendars for Nelson in May! If you enjoyed Gisborne, you won’t want to miss out on the National Convention in Nelson next May. It promises to be another unforgettable event with more opportunities to sharpen your skills, share your work, and connect with fellow photographers in one of New Zealand’s most picturesque locations. We have two international speakers who no doubt will inspire us all.
More information will follow in the coming months but, for now, make sure you mark your calendars.
Key Dates for the Diary
October 25-27 Painterly Landscapes workshop
October 25 Canon Online round closes
November 1 Entries for Jack Sprosen Memorial Trophy close
November 8-10
Thames Steampunk photo opportunity
November 22-24 Garden Workshop
December 25 Canon Online round closes
January 16 Submissions for Honours open
PSNZ Service Awards
PSNZ bestows a number of service awards to members who have made a significant contribution to the Society.
Nominations for Service Awards are submitted to the Honours Board in the same time frame as the submissions for Honours distinctions. That means that submissions open on 16 January and close on 28 February 2025.
Nominations are made on the form found on the PSNZ website and submitted in digital format to the secretary of the Honours Board.
Bylaw number 10 covers the procedure and the different awards available. To find Bylaw 10, go to the “About” page on the website. The application form can be found under the “Honours” tab on the home page.
Welcome to Our New PSNZ Members!
Ben Smith
Catherine O’Leary
Danielle Manon Frenzel
Elizabeth Iremonger
Lei Gao
Salena Stinchcombe
Sally-Anne Kerr
Steve Fearon
Theresa Maliakal
PSNZ Print Circles - Penfriends in
Photography
By Beverley Sinclair
PSNZ print circles were instigated to support the newly appointed individual members of PSNZ, which was inaugurated as a Society of Clubs. There are at present nine active print circles – one mono and the others mono and colour. Several people are in more than one circle, and two circles have been going for more than 40 years!
Receiving a folder is a great start to the day. Each contains two prints and comment sheets from each member and a letter from each at the back of the folder. The oldest print is removed, a new print put in its place, comments made on any images not yet assessed and the friendly letter refreshed.
There are two weeks in which to enjoy the folder before it’s couriered on its way. Members, if in the vicinity of other members, might get together for a coffee or even visit a club meeting. Some years ago a print circle reunion was based at the now-destroyed Gunns Camp in Fiordland National Park.
An exciting addition is the forming of Zoom Circles for digital images. Images are dispersed a week before the zoom meeting and then avidly discussed at the meeting. Cliff Threadgold FPSNZ ARPS has started a PSNZ dpi circle. He is also a member of overseas zoom circles.
PSNZ print circles are a great way to have your prints assessed, comment on others’ work, pick up new ideas – and make friends all over the country.
If you want more information or would like to join a print circle, contact Lindsay Stockbridge LPSNZ (dilinz@actrix.co.nz). If you are interested in digital zoom circles, contact Cliff Threadgold (cliffthreadgold@ gmail.com).
Cliff Threadgold, member of three print circles and Mark Berger APSNZ, at the North Island Regional Convention.
PSNZ 70th National Convention Nelson 2025 – Building on Your Why!
By Rachel Hume APSNZ, Councillor for Events
On the back of what was an outstanding weekend in Gisborne at the North Island Regional Convention, What’s Your Why? We are extremely excited to provide information about the 2025 PSNZ National Convention – Building on Your Why!
Join us for the Photographic Society of New Zealand's 70th National Convention, celebrating our Platinum Convention from 1 to 4 May 2025 at the stunning Rutherford Hotel in Nelson! PSNZ and Nelson Camera Club are extremely excited about our speaker lineup for the convention. In this issue of CameraTalk we profile the two amazing international guest speakers we have secured as part of our captivating and thought-provoking lineup. (We will profile our New Zealand speakers in the next edition of CameraTalk. )
Sean Tucker
Sean is a photographer, filmmaker, author and speaker, based in the United Kingdom. In his career to date, he's been fortunate enough to tell visual stories for individuals, NGOs and large multinational corporations across more than 20 countries. He's travelled many long hours as a solo filmmaker and photographer to create work with a meaningful message. He's also helped organisations set up in-house studios and trained them to tell their own compelling visual stories. In more recent years he established a popular YouTube channel on which he seeks to inspire other creatives, and he's written and published a book sharing his philosophy for the creative life called, The Meaning in the Making.
Sean will give two presentations:
¾ My Portrait Photography Journey
¾ The Meaning in the Making
(You’ll find a trailer for the book and presentation at https://www.youtube.com/ watch?v=41rgrbeStHw.)
Sean Tucker is well known for his engaging presentations on photography techniques and storytelling. He often shares insights through YouTube videos in which he discusses not only the technical aspects of photography but also the artistic and emotional dimensions of image capture. His work often emphasises the importance of finding one’s personal style and the storytelling potential within photography.
Sean Tucker's keynote address, The Meaning in the Making, delves into the deeper significance behind photography and the creative process.
In his "One Light Portrait Photography” workshop Sean will teach attendees how to make classical portraits with one light.
In his work, Sean often emphasises how the act of making art can be a profound journey of self-discovery and connection. His focus on inspiration and the use of single-light portraits showcase his ability to evoke emotion and storytelling through minimalist lighting techniques.
Tim Booth
Tim Booth’s instantly recognisable shooting style echoes across both his portraiture and landscape work. Deceptively simple and shunning unnecessary elaboration, his photographs are often both profound and affecting. Winner of many international awards, including being voted the No.1 Black & White photographer working in the UK today, by OneEyeLand. His work has appeared in countless magazines and fine art publications and is collected worldwide.
He began taking photographs with his father’s camera at the age of eight. By the time he was a teenager, he’d bought his first SLR, thrown on a backpack and headed off around Europe. Infected by both travel and photography, he spent several years shooting freelance features for most of the UK’s weekend magazines and newspapers, working in Africa, Pakistan and South East Asia.
Once settled back in the UK he shot commercial, corporate and design work from his London studio whilst also pursuing personal projects. His commercial work for advertising and design agencies spans three decades.
Ever bitten by the travel bug, his first exhibition, Into the Light, was shot whilst on assignments in Africa. However, it was his seminal A Show of Hands project and awardwinning book which brought him international recognition.
Spanning twenty years, the collection features the hand portraits of hundreds of people whose hands are intrinsic to their contribution to the world. Some of the portraits are of well-known celebrities, musicians and performers, while others are from everyday backgrounds, but all with hands that embody an evocative insight into their lives and professions.
A Show of Hands has been featured in the Sunday Telegraph, BBC Online, National Geographic and in many photographic publications. More recently it was featured in a Radio 4 three-part programme on hands. Both the book and the collection have received numerous international awards.
His latest collection is entitled C I R C U S and is a personal fine-art project creating powerful images of contemporary circus artists. Circus was once a family-led and animal-based entertainment medium, but in our more enlightened times, animals are now seldom used; as a result, circus has become a far more disciplined and solo activity.
All over the country, individual circus artists train incredibly hard to develop their key talents, and this collection of images sets out to highlight their strength, skill and dedication to their art. The collection has already received a gold award from the Prix de la Photographie in Paris.
Building on Your Why?
Dive into a long weekend filled with inspiring workshops and field trips designed to ignite your creativity and deepen your passion for photography.
Connect with fellow photographers, build friendships, and explore the essence of your artistic journey.
Along with our two fabulous international speakers we have two amazing South Island photographers, Jayne Fletcher and Johnathan Harrad joining us as keynote speakers and workshop hosts. (They will be featured in the next edition of CameraTalk.)
Another significant feature of the National Convention programme is to celebrate the achievements of PSNZ members and friends at the Honours Banquet.
The banquet provides a great opportunity to dust off the glad rags and be a part of an evening dedicated to celebrating the achievements of those who have put on their brave pants, submitted honours sets for assessment and have been awarded their Licentiate (LPSNZ) Associateship (APSNZ) or Fellowship (FPSNZ).
Recognising these achievements is an integral part of who we are, and what better way to do it than with an evening dedicated purely to these achievements?
Nelson will be our 70th National Convention, our Platinum Convention.
As those who attended Gisborne will attest, we are a vibrant community of photographers who celebrate photography in all its art forms. Join us for inspiration, connection and creativity – in beautiful Nelson!
Come sooner or stay longer, but most importantly, don’t miss this chance to be part of what we hope to be a platinum experience in this outstanding South Island location.
1-4 May 2025
Sean Tucker
Partners! PSNZ and Lacklands
A series by Aston Moss LPSNZ
We are fortunate to have many people who contribute to the running of PSNZ. While it is easy to think of our councillors, workshop leaders, members of affiliated clubs involved in hosting events, the Judge Accreditation Panel and Honours Board, there is another group of unsung heroes – our trade partners who provide so much to our Society.
In this series we’ll be interviewing our trade partners, giving members the opportunity to get to know the faces beside the brands.
As Vice President and Co-Councillor for Trade Partnerships, I had the privilege of interviewing some of the familiar, along with some of the not so familiar, faces that members may have seen at various events. It is important to understand that these valued contributors to PSNZ, as well being passionate brand ambassadors, are usually talented photographers in their own right, incredible sources of knowledge and expertise – and just incredibly generous and nice human beings.
This month, I was fortunate enough to interview Dakota Brown, Imaging Brand Manager at Lacklands.
¾ What inspired your company to support the PSNZ?
We have a long relationship with PSNZ, having supported you for a number of years. We love the opportunity to support our local New Zealand photographic community in any way we can We enjoy the interactions with your members at your annual convention.
¾ Tell us about the range of photography-related products your company distributes. What makes them stand out?
Lacklands is the distributor for Nikon, Leica, Tamron, Samyang and many more iconic world-renowned photography brands.
¾ Please share some examples of the ways in which your company has organised other events to educate and help society members to grow.
We regularly organise public-accessible photographic workshops and events to allow New Zealand photographers of all levels and backgrounds to experience our products, with tuition from some of the country’s leading professional photographers.
¾ What future initiatives or projects does the company have in store for us?
We plan to continue supporting PSNZ, not just through sponsorship, but also through workshops and in-person and online support through our dedicated nationwide team.
¾ How do you balance your role with your company with your passion for photography?
For me, it is really like being a kid working in a candy store. I have spent the past decade shooting with and lusting over much of the equipment that we distribute. I feel that having actual user experience and interest in what we supply makes a massive difference in understanding our brands, not only for what they are, but why they are relevant and so important to the industry.
¾ As a keen photographer yourself, what aspects of photography do you find most fascinating?
The most fascinating development in photography, I would have to say, is the co-existence with AI. Many see this as a scary new beast that is going to take our creativity and achievements away. Sure, in some cases and genres that might be the case, but the other side of the coin is that it is unlocking new creative possibilities that we could not have achieved before.
The AI noise reduction feature in most editors is a great example; this has allowed users to shoot at much higher ISO than even the best cameras are capable of handling, and giving beautiful results that otherwise would have been impossible. Although, as is the case with all good powers, it must be used responsibly and not overdone.
¾ Are there any memorable moments or experiences from your involvement with the Society that you’d like to share?
I only attended my first PSNZ convention in 2023, and it was an absolute blast. The engagement and fun I had speaking with all the members was outstanding – so many talented and knowledgeable photographers in the group that really made the weekend a lot of fun.
¾ What advice would you give to aspiring photographers who are just starting their journey?
It’s pretty much a cliché, but I do love the quote, “Your first 10,000 images are your worst.” The more you get out and shoot, the better your photos are going to be; it’s as simple as that. YouTube is a great free resource for learning, but if you aren’t putting what you learn into practice, then it is a waste of time and you won’t get the results that you want.
¾ In your opinion, what role does photography play in our lives today?
Reaching back to what I was saying about AI, I think photography is more important than ever. Initiatives like what Leica first introduced with the M11P, the Content Authenticity Initiative will give assurance that what you are seeing in a photograph matches what was captured in-camera. Or, at the very least, everyone has access to see what changes have been made. It’s now more accessible than ever to take photos.
¾ Describe a favourite photograph you’ve taken and the story behind it.
My favourite shot would have to be one that I have titled Merlot. It is of a yacht that ran aground at the New Brighton Beach in Christchurch a few years ago. For me, what made the image so memorable was that it was one of my first sessions operating a medium-format film camera.
I was shooting through a Hasselblad 500CM and attempting to take 5-minute plus exposures. The drama was that the tide was coming in and I was still getting used to the reversed image of the waist-level viewfinder. Trying to align the straight mast perfectly centred in the image while the tide was trying to pull my tripod out to sea was definitely a challenge I will never forget. The end result can look as though Merlot was out on very rough waters in the ocean.
¾ What do you enjoy most about interacting with Society members during events?
The enthusiasm and passion that the members have for not just the photography, but the gear.
¾ Have there been any unexpected benefits or outcomes from this partnership?
I have met and become friends with a lot of members from all over the country that I would otherwise never have crossed paths with.
¾ What’s the most rewarding aspect of being part of the photography community?
Just finding like-minded people that share the same interest and enthusiasm for cameras that I do. I enjoy cameras as much as I do photography, and being able to have in-depth conversations and geeking out about gear is one of my favourite pastimes.
¾ Can you share a fun or quirky photography-related fact about yourself or the company?
It would be that I am colourblind. I struggle to see a lot of shades of colour that many others do, so I could end up with a purple tinted image without even knowing it. Trusting the camera’s colours is something I have had to rely on as my journey in photography has progressed. But, if all else fails you can’t beat a good old black and white image.
North Island Regional Convention
Paul Whitham APSNZ looks back
I am not sure when PSNZ last held a convention in Gisborne, other than the National Convention in 2000. During the days of the three regions, Gisborne was part of the Central Region, even though that city was further north than some clubs in the old Northern Region.
With a gap of more than a year since the last regionals, there was some degree of unease as to whether a convention would be a success. Throw in a curveball that, with less than four months to go, the PSNZ Councillor for Events Richard Passey had to stand down for health reasons, and his role was picked up by Rachel Hume APSNZ. To say that Rachel had to hit the ground running is an understatement. She was competing in the 100-metre sprint.
Fortunately, there was a great team from Gisborne Camera Club, led by Julia Rae APSNZ who had things pretty much sorted.
We should not have been concerned. Everyone spoken to has rated the convention a success. The team from Gisborne Camera Club were fantastic hosts. The speakers over the weekend were excellent, the venue perfect for the numbers attending and, most importantly, the catering from Green Eyed Maori (GEM) was spot on.
PSNZ Vice President Aston Moss LPSNZ did an excellent job as MC, giving very clear instructions.
In this piece, I will try to give a taste of what those attending experienced.
Checking - Paul Whitham APSNZ
Rose Room - site of the catering & salon - Hannah Jairam
MC Aston - Hannah Jairam
Smiles all around - Hannah Jairam
The happy welcome
Contemplating - Hannah Jairam
Friday Night
The convention started with an official welcome from Deputy Mayor Josh Wharehinga who showed total enthusiasm for both his district and the images we had on display. He concluded his korero with a beautiful waiata written by his nine-year-old daughter.
Then it was on to the opening keynote speaker, Michael Bradley. Michael is a professional photographer based in Hamilton. He specialises in commercial, editorial and sports photography.
Michael spoke about his Puaki project which is a very culturally significant and very powerful personal project. Puaki means to come forth, show itself, open out, emerge, reveal, to give testimony. In Māori culture, it is believed everyone has a tā moko under the skin, just waiting to be revealed.
Josh Wharehinga - Hannah Jairam
Michael Bradley - Paul Whitham
Caroline Ludford - Hannah Jairam
The problem is that, when photographs of tā moko were originally taken in the 1850s, the tattoos barely showed up at all. The wetplate photographic method used by European settlers served to erase this cultural marker – and as the years went by, this proved true in real life, too. The ancient art of tā moko was increasingly suppressed as Māori were assimilated into the colonial world.
In his project, Michael used wet-plate photography, along with modern digital techniques, to show the resurgence of the art form of tā moko. By using wet-plate photography to document the rebirth of tā moko, he depicts how culture can be erased by colonisers – and how, against all odds, it can come back.
Michael had envisaged the project to take six months but, in reality, it took more than two years. He gave a fascinating insight into the steps needed to get this project going and the challenges he faced and is still facing, in trying to get the prints displayed when he is not a recognised fine art photographer.
The images were very impressive and left everyone inspired. When talking about personal projects Michael made the statement:
“
There is never a good time to start a project. You just need to start it.
”
Disappearing Act - Paul Whitham
Saturday
For some, Saturday morning started really early by joining President Caroline Ludford LPSNZ ANPSNZ LRPS for a President’s breakfast. I understand this was well attended and a lively discussion was had.
For the majority of delegates, the day began with the showing of the accepted images in the Regional Salon and awarded images from the Interclub.
Then PSNZ Patron Beverley Sinclair stepped in to promote print circles.
That was followed by Megan Maloney. Megan is a landscape photographer who is a favourite tutor in the PSNZ workshop series, judging by how quickly her sessions sell out.
After an introduction to her photographic journey, Meghan focused her keynote speech on long-exposure capture, and in particular her use of long-exposure enabling filters. She explained how each type of filter worked and the results she could get from them.
She then showed a series of her images and ran through the thought process that went into them. She concluded by looking at Intentional Camera Movement (ICM). Using various techniques produced different results and no two images were the same. She stated that often people try too hard to get the shot and that in her opinion one “keeper” from 50 images shot is a good success ratio. She also recommended returning to the same location multiple times – a great way to see how you can put learned skills into practice.
Megan Maloney - Hannah Jairam
Bev Sinclair - Hannah Jairam
Breakfast in a box - Janet Munnings LPSNZ LRPS
Megan Maloney - Paul Whitham
Detail Explanations - Paul Whitham
After a refreshing morning tea, the next speaker was sports photographer John Cowpland. John talked about where he came from and how that has led him to manage a team of photographers who cover a wide range of sports. He also showed his commercial work, including some images captured with drones.
Having covered both the Rio and Tokyo Olympics John was able to talk about what it is like to cover sport at the highest level and in the toughest conditions. John’s presentation took less time than he had thought, but that was a bonus as it enabled an in-depth question and answer session that ranged across a wide range of topics.
John’s key to shooting great sports images:
¾ Always look for the light
¾ Always look for the shadows
¾ Always look for colour, and
¾ Always look for celebrations.
¾ Also, always look for a different angle.
That led us to an early lunch before everyone departed for the afternoon field trips, To get us all on the right buses Aston reached into the fairy tale of Goldilocks for an accurate description. The “baby” bus was going to the museum, the “mummy” bus was going to the Arboretum, and the “daddy” bus was going to the Kaiterahi Ruins and Bushmere Gardens.
The field trips will be covered separately starting on page 32.
John Cowpland - Hannah Jairam
Daddy & Mummy Buses - Paul Whitham
All Aboard - Hannah Jairam
The Moment of Action - Paul Whitham
A Love of Gymmastics - John Cowpland
Saturday Evening
After an afternoon of photography, the evening changed gears and locations. The convention dinner and prizegiving was held at the Midway Life Saving Club which in recent years has had a major overhaul and is now a very impressive complex. The tables were beautifully laid out with centrepieces created by Alison Crosswell with items collected from the local area as well as some from her home.
As with the rest of the weekend, the meal from GEM was top quality.
After dinner, we were entertained by a talk by John Drummond who took us through his love of astronomy, starting at the age of 10 when his mother pointed out the “pot” (Orion). He is now a published author and has a number of telescopes on his property just out of Gisborne.
Table Decorations - Hannah Jairam
Another Great Spread from GEM - Hannah Jairam
John Drummond - Hannah Jairam
Sunday
The morning started with some quick notices and then everyone was off to workshops. You can read about the workshops starting on page 52.
We were asked to be back promptly as a group photo was to be taken right at the start of morning tea. Fortunately, that went relatively smoothly and quite quickly we were munching on filled croissants.
Michael Bradley then took the stage again as the final speaker of the weekend. He started by giving a good summary of what we had all experienced over the weekend, before launching into his current passion project, one that he uses to keep himself centred – photographing water and waves around their summer holiday spot. The images were impressive and showed how you could apply different techniques to a similar subject.
The image that gathered the most amusement was one of the sun setting over the waves. Michael had thought that it had some sensor spots on it, and had planned to remove them. That idea changed after John Drummond pointed out that he had actually captured sunspots. With the weekend focus on why people “did stuff”, Michael was an excellent speaker to wrap things up.
Then, after the usual “thank you” words to everyone who made the weekend possible, the final act of the weekend was the showing of a video promoting the 2025 National Convention in Nelson.
And, just like that, the convention was over –and we all headed home.
Catching the Wave - Paul Whitham
Michael looking very relaxed - Hannah Jairam
The Gisborne Crew - Hannah Jairam
What the attendees thought!
“You and your team made my first convention experience such a wonderful one Rachael. There was not one moment of the speakers talks, the field trips, the meet and greets that I didn’t enjoy. I learned so much in one weekend that I don’t know where to start Thank YOU!!! Gisborne Camera Club and PSNZ for putting together a terrific convention!!!”
Paula Vigus LPSNZ
“Michael Bradley’s work - inspiring talk.”
Beverley Sinclair
“What an awesome photographic conference hosted by the Gisborne Camera Club. Thank you all you Gissy people and the great speakers who made this such an enjoyable occasion.”
Michael Martin
“Amazing convention! Absolutely gold speakers and the local Gizzy camera club folks are awesome! Thanks so much – I personally learnt a bunch and it was great meeting such great people.”
Terry Harkin
“What an awesome photographic convention, hosted by the Gisborne Camera Club. Thank you all you Gissy people and the great speakers who made this such an enjoyable occasion.”
Michael Martin
“Each session gave me a burst of inspiration in a new and different direction. It has been a really motivating experience, driving me to spend more time and energy in my photography.
Thank you to the organisers and speakers a of the event.”
Richard Charleswood
Happy campers - Hannah Jairam
Fieldtrip Review - Eastwoodhill
by Annette Johnston FPSNZ
Twenty photographers chose Eastwoodhill for their Saturday afternoon GISBORNE’24 field trip. Our transport, aptly described by PSNZ Vice President, and convention MC Aston Moss as the “Mumma Bear” bus, was driven by the delightful Danny. He commenced proceedings with a karakia, seeking both safety and blessings as we made our way to this space of national significance.
Leading the tour was Gisborne Camera Club member Jan Shanhun who, on the 40-minute bus journey, gave us insight an into the history of the arboretum and its value today.
Jan regaled us with tales of the founder (William) Douglas Cook, who commenced planting in 1910, volunteered to serve in the First World War, lost the end of a finger to a bullet in Gallipoli and then in France lost the sight of his right eye – courtesy of another bullet! Perhaps most intriguing was the postwar Douglas who adopted the practice of tending his ever-increasing plantings wearing only boots and a hat!
Upon our safe arrival at the arboretum, Jan supplied us with a site map, and additional and necessary insight into finding our way around the 135-hectare space, all with a view to us being on time for our return home.
Eastwoodhill Arboretum is wonderfully generous in what it has to offer. The space is quintessentially Kiwi, in that it is unpopulated (no hordes of tourists), only a little bit manicured, and full of horticultural gems, with its 25,000 species of exotic and native trees, shrubs and climber plants all coming back into life with the onset of spring.
Before we set out with our cameras, I set the photographers a little challenge – to photograph each scene both in landscape and portrait orientation. This is a practice I have adopted as I find that whilst I may have preferred one option when in the field, it is often the other that I end up using.
I invited the photographers to send me one or two images with a brief explanation about why they chose this version. I would compile these images into an e-book which we will share amongst the arboretum field trip attendees. You can find that e-book at https:// issuu.com/photographicsocietyofnewzealand/ docs/eastwoodhill_arboretum?fr=xKAE9_ zU1NQ
Our afternoon was made complete with a wonderful spread of homemade teacakes, sandwiches, tea and coffee provided by the Friends of Eastwoodhill Arboretum, and then a safe and colourful journey home which, courtesy of our bus driver Danny, took in some of the wonderful sights around Gisborne.
Danny- Sandy Odell LPSNZ
All images - Sandy Odell LPSNZ
Fieldtrip Review - Kaiteratahi Ruins
by Paul Whitham APSNZ
Having grown up in Gisborne I had often driven past the ruins of the Waipaoa Freezing Works at Kaiteratahi. They sit just off State Highway 2 as it heads northwest to Opotiki and the Bay of Plenty. So the opportunity to go there on a field trip, was one that I was not going to turn down. And I do love photographing old derelict structures.
We were met on the farm by Nathan Twigley who had owned the property for three years. He ran us through the history of the site.
It was built in 1915 for the Poverty Bay Farmers Meat Co. Ltd. The Waipaoa Freezing Works were abandoned after the season of 1930-31, and the plant and other salvageable parts were removed. The imposing building, with many thousands of feet of floor space, would have a considerable value were it situated nearer the city, but where it is, 15 miles out into the country, it was left to decay.
The complex has had a sordid past and, in the late 1970s, it was being used as a major cannabis growing site until the police raided it. I can recall the whole story at the time. The owner of the land claimed that he knew nothing about what was going on and managed to escape the charges laid on a technicality. He then tried to claim the money found on the site on the basis that it was on his land. Naturally, he lost that argument.
We were given the usual safety message, especially as the land was littered with broken concrete and wire. The good news was that we were free to wander inside the buildings.
Megan Maloney had come on the field trip and brought with her a range of filters with the intention that people could try them for long exposures. Unfortunately, Mother Nature did not oblige as there was little wind and the clouds were not moving.
For those who wanted to shoot something different, part of the site had been converted for housing pigs. It housed three sows and a large number of piglets, making cute images. There was also an area for chickens which associated anyone approaching with food as they gathered around each photographer.
After a pleasant couple of hours, we headed over to Bushmere Gardens for a classic afternoon tea, complete with fruit, asparagus rolls and mini-meringues.
View from above- Neil Gordon ASPNZ
Friendly Locals- Neil Gordon APSNZ
Gatting Inside - Paul Whitham APSNZ
Time for Tea- Paul Whitham
All in a Row - Paul Whitham
Escape from the Ruins - Margaret Larder
Infrared - Peter Rodgers LPSNZ
Fieldtrip Review - Bushmere Arms Gardens
by Janet Munnings LPSNZ LRPS
One of the workshops at the Regional Convention in Gisborne involved a visit to Bushmere Arms Gardens. A relaxing tenminute drive across the spectacular Poverty Bay flats took us to Bushmere Arms. It was an elegant and sophisticated location with all the charm and ambience of yesteryear. We were all excited to see what was going to be in this beautiful garden – and we were not disappointed.
We were greeted by some volunteers from Gisborne Camera Club and introduced to a gorgeous model who went by the name of Miss Trixie Teacups. We were then introduced to Peta, a little four-year-old girl, and her lovely smiling aunty Renee.
Our guest speaker, Michael Bradley, then produced two cases of Canon equipment for anyone to use during the afternoon. He then gave us all an incredible workshop, teaching us how to photograph in the beautiful gardens, how to pose your model and watch for the light, shadows and highlights.
Miss Trixie made a few changes of clothes and modelled in the gardens at different locations, wearing the most exquisite floaty dresses. Miss Peta was an exceptionally beautiful and talented little girl who captured all our hearts. She was the perfect model and if you asked her I am sure she would have stood on her head for you. She was simply gorgeous.
In the garden was an array of trees, daffodils, poppies, camellias, clivias and tulips. The rose garden would look spectacular in a few weeks’ time as they were all in buds when we were there.
One of the photographers found what she thought were inkcap toadstools. She had a very enjoyable afternoon staying in front of them with her camera and all her equipment, taking and stacking her images.
After a very enjoyable afternoon, we had a scrumptious afternoon tea and talked over our workshop. Well done Gisborne Camera Club for choosing this venue and location, and providing such excellent models. I can personally say I have not enjoyed myself so much for a long time.
Peta - Michael Bradley
Tulip - Judy Stokes APSNZ
Toadstools?? - Judy Stokes APSNZ
Miss Trixie Teacup - Michael Bradley
Michael Bradley
Michael Bradley
Images from other Fieldtrips
Cliff Threadgold FPSNZ ARPS
Lynda Leng LPSNZ
Rachel Hume APSNZ
Terry Harkin
John Perrin
Rachel Hume APSNZ
STORIES CAPTURED IN EVERY FRAME
North Island Regional Salon GISBORNE’24
By Annette Johnston FPSNZ, Councillor for Salons
We had a pleasing response to the North Island Regional Salon, GISBORNE’24.
From 70 individuals we received
¾ 80 Open Prints
¾ 20 Nature Prints
¾ 239 Open Digital
¾ 112 Nature Digital
Congratulations to all who met with awards and acceptances, and thank you to everyone who took the time to enter.
The Regional Interclub saw 10 North Island clubs enter their sets of six diverse digital images, with Howick Photographic Society taking out the first placing.
GISBORNE’24 Interclub Results
Howick Photographic Society - 1st
Hibiscus Coast Photography Club - 2nd
Whakatane Camera Club - 3rd
Cambridge Photography Club - Honours
Our thanks go to the team of judges: Paul Byrne FPSNZ ARPS AFIAP, Marie Bilodeau LPSNZ and Trish McAuslan FPSNZ EFIAP/s FAPS AV-AAPS, who professionally undertook all the judging – Print and Digital, Nature and Open, as well as the Interclub.
I am sure that all the Gisborne’24 North Island Regional Convention attendees enjoyed seeing the Regional Salon exhibition of prints as well as viewing all the digital awards and acceptances during their time in Gisborne.
The Results Catalogue is available on the following link.
Champion Nature Digital Image: Kakaruai with Weta Carole Garside LPSNZ
Silver Medal: Hemitrachia calyculata
Paula Vigus LPSNZ
Bronze Medal: Poliocephalus rufopectus
Mark Burgess APSNZ
Nature Print
Champion Nature Print: Adelie Penguins and One Gentoo Penguin Linda Mannix LPSNZ
Silver Medal: Proboscis MonkeyMother and Baby Linda Mannix LPSNZ
Bronze Medal: Cape Petrel (Daption capense)
Paul Glenton LPSNZ
Open Digital
Champion Open Digital: Locked Up
Cliff Threadgold FPSNZ ARPS
Champion Portrait - Digital: Old Soul
Lynn Fothergill LPSNZ
Champion Photojournalism - Digital: Pure Delight
Julia Rae APSNZ
Open Print
Champion Open Print: Morning Mist on the Lake Brian Eastwood MNZIPP
Champion Photojournalism Print: Drifter
Rachel Hume APSNZ
Champion Portrait Print: Living with Glaucoma Beverley Winstone
Workshop Review - Sports Portraiture
by Paul Whitham APSNZ
Sunday morning saw a group of around 20 photographers join John Cowpland and Michael Bradley at the Patu Tahi Boxing Club, which was just across the road from the convention venue.
The workshop was billed as giving the chance to photograph members of the boxing club sparring in the ring and modelling for sports portraits. We were told that John and Michael would use their combined knowledge and experience to guide us in the art of photographing action in low light conditions. We would be capturing the atmosphere of the event and the character of the athletes as well as creating portrait images using off-camera flash.
It delivered on everything that was billed.
John and Michael arrived with a carload of gear, much of which was not needed as they were able to identify areas in the building that allowed us to shoot using natural light.
We were split into three smaller groups. One worked with a single boxer, using off-camera flash. The second group took a boxer to an area of the gym where doors allowed great natural light.
The third group went to the ring, shooting in the worst light of the location. The key was to crank up the ISO to keep shutter speed high and to watch what was in the background. The four young boxers were all great subjects with at least two having potential as male models later. We all nailed the looks that we were trying to achieve.
At the end of the session, the boxers competed against each other and the group got to shoot around the ring in the same way that would happen at an actual event.
Rachel Hume APSNZ
Michael positions a boxer -Paul Whitham
John demonstrates the size of softboxes
- Paul Whitham APSNZ
Aston Moss LPSNZ
Michael shows how window light can be usedHannah Jairam
Michael Bradley
The Stories We Tell, and How We Might Share them
by presenter Annnette Johnston FPSNZ
Held in the Lysnar House Artists’ Studios, this historic house is now a colourful home for a variety of Gisborne artists.
A nice number of participants, hopefully each one not too disappointed that this workshop was a last-minute replacement for the printing workshop, enjoyed time thinking about photography in terms of story.
Together we investigated the power of a photographic project, how it pushes us to look and to see, and how a project influences the way we shape and frame our images.
I set a challenge whereby the participants took their cameras and for twenty minutes looked and saw, framed and shaped, some hitherto unnoticed jewels in the spaces we were inhabiting for this short period.
From a participant
Peter Beazley LPSNZ went to Annette's workshop
This highly successful and engaging workshop left me inspired. Annette Johnston FPSNZ, extremely accomplished in her field of arts from photography to bookbinding, possesses an absolute gift in the ability to pass on her knowledge.
Annette encouraged participation from those present to look outside the box, to SEE inspirational subject matter to add to our own storytelling. A twenty-minute storytelling session, with our cameras in a confined area, was most helpful in making one think about what one was doing and seeing.
I would encourage those who wish to be inspired and further their learning not to hesitate to attend one of Annette’s engaging and professionally-run workshops.
Annette in presentation mode - Hannah Jairam
Peter Beazley
Escaping the Surreal
by Maartje Morton
Attending one of Meghan Maloney’s workshops is with the certain knowledge that you are going to learn heaps. And we did. She had her audience in the palm of her hand the whole time, with lots of really useful tips and instructions on how to use long exposures to get the effect you wanted on water movement or star trails, manage your histogram effectively, use wide apertures, polarising lenses, hyperfocal distance – the list goes on.
There was a lot to take in, given a short space of time, but we did our best, and I for one am keen to get out and try some, if not all of these techniques as soon as possible. Her images were great, illustrating her points perfectly and, while she said she was not an early riser and did not like cold, we found that hard to believe when we saw her beautiful images of the Antarctic pack ice and different sunrises.
Thank you Meghan – it was inspiring to hear you talk about and illustrate your work.
Being Inspired
by Hannah Jairam
I was fortunate to hear Paul Byrne FPSNZ ARPS AFIAP speak during his workshop The Road to Honours at the Regional Convention.
As part of the workshop Paul shared and discussed his successfull Caricature Associate set.
I was inspired by his incredible creativity and that the set was so enjoyable and fun! I immediately knew that I would like to try to make a caricature image.
This is my daughter dressed as The Queen of Hearts, now in caricature style. It is not perfect and I still have much to learn, but thanks to Paul for sharing his awesome creativity.
Paul presents - Hannah Jairam
A Huge Thankyou
To those to the presenters over the weekend who made it such a success.
(From left) John Cowpland, Michael Bradley, John Drummond, Megan Maloney, Annette Johnston FPSNZ and Paul Bryne FPSNZ ARPS AFIAP
And to the organisations that played as part
What is My Why?
Asks Toya Heatley FPSNZ AFIAP
I was unable to attend the PSNZ North Island Regional Convention this year, but the question they asked in the promotional material was, “What is your why?” It got me thinking. What is my why? Is there more than one “why” to answer? In this column, I have decided to address a few “why” questions I have been asked many times.
Why did I choose nature as my preferred genre of photography?
When I first moved to nature and bird photography, there were not a lot of photographers in my local area focusing on nature, at least that I knew of. Certainly not as many as there are now. It is a challenging genre and I love a good challenge. I soon learned that bird photography could also be expensive if I wanted to get close enough to the birds. I looked at the images of photographers I followed online, and the first thing that hit me was that my gear would never match up to what they used. Knowing that, I just focused on doing my best, and learned where I could. Patience and practice are two of the most important things bird photography has taught me.
Another important reason is that I enjoy nature. While growing up as a city kid, I spent time living and working on dairy farms, orchards and market gardens. I love being out in nature where time seems to slow down, and stress dissipates. It’s good for the soul.
Why do I share my images so freely?
I have been writing and sharing my images on my blog since 2010, and I see it as a record of my growth as a photographer. I share my images because it makes me happy to see others enjoying them too. I regularly donate high resolution images to many conservation organisations as a means to give back and help protect what is around us. I do sell some images but that is not my focus and certainly not enough so sustain a business.
I share on social media as it gives me feedback and encouragement to get out there and capture more images. Doing so has also allowed me to meet many other nature photographers in my area. I have made some good friends this way. I am careful never to share high resolution images on my website, blog or social media. I know there are people who see any images online as free for the picking; I don’t get all paranoid about this happening, but I don’t want to make it easy for them either. Generally, if someone really wants to use my images, they contact me privately and we go from there.
Why don’t I enter a lot of competitions?
Over the last 20 years, I have entered many competitions. I have done well in the international competitions, but not so well at the national level in New Zealand. After many years of this, I must admit, I have almost given up trying. It can be really depressing to see the same type of images taking the top prizes all the time, knowing that to achieve them it is more than just having the right gear and knowing how to capture the images. It is often about being able to travel, being in the right place at the right time. Most of all it is about having the time to spend on photography. I am passionate about my photography, but it isn’t my entire life. I have a job, a family, and a lot of other interests. All of these contribute to my inability to be in the right place at the right time, and I am OK with that.
Instead of entering lots of competitions, I focused more on improving my photography and aiming to achieve photographic distinctions. Working on my PSNZ Fellowship was a task five years in the making. I still have upwards of 25,000 images of gannets on my computer, and I need to reduce that number soon to make space for others. To select 18 images for the set from 25,000 was not an easy task. Selecting the right 18 images was even harder.
While working on my successful PSNZ Fellowship set, I learned so much about the gannets and their breeding behaviours. Spending time with the birds, getting to know them and studying their behaviours, was just as important to me as capturing the images and telling my story. More than that, achieving a successful set gave me a huge sense of accomplishment. Knowing that those five years facilitated so much growth in skill and confidence in myself as a bird photographer has been such a highlight for me.
What’s next?
To be honest, I just don’t know. What I do know is that photography will always remain a huge part of my life. It is a part of who I am, it is how I express myself as a creative. I also know that I will never stop trying to improve what I do, and that I enjoy helping others to do the same. I am happy to share what I have learned with others, and I get just as much enjoyment by watching them succeed with their photographic goals as well.
If you are enjoying my articles, or have questions for me, I would love to hear from you. Send questions and feedback to me on my website at https://digitalpix. co.nz/contact.
AV Notes
By Trish McAuslan FPSNZ AV-AAPS EFIAP/b FAPS Coordinator of Audio-Visuals for PSNZ
Jack Sprosen Memorial Trophy Competition 2024
The JSMT is the next big New Zealand AV competition. I must remind you that it is important that as many people as possible enter so that we can keep this competition going. Entries opened on 1 October and will close on 4 November 2024. Judging will take place on the weekend of 16 or 17 November with results available by 22 November.
There are several rule changes this year so please make sure you read the rules that are published on the PSNZ website. They can be accessed from Salons & Galleries->Jack Sprosen Audio-Visual Competition ->Rules or from this link: https://photography.org.nz/wpcontent/uploads/2024/08/Rules-JSMT-2024.pdf.
Although most AV salons allow you to include your name at the end of the AV, this is NOT ALLOWED in the JSMT. It is important always to keep a working copy of your AV so you can make small changes without having to redo the whole AV.
Note that if your AV gains an award, you will be asked to provide a copy that includes your name. Successful AVs will be shown at the National Convention. If a copy is accidentally left on a computer, it is important that the author’s name is on it, that credit for elements not created by the author (such as the music) is acknowledged and it is dated. Given the JSMT rules, this cannot be done until after judging is completed.
Who can claim to be a Novice in this competition?
It is anyone who has not received a Merit certificate or a medal in a previous Jack Sprosen Salon. You must indicate this on your entry form. If you don’t, you will not be considered for this award.
Why consider video clips?
Some stories are much more clearly told by video than they are by still images. A situation that quickly comes to mind is a group performing traditional dance, particularly if you capture the music as well.
It is easy for photographers to capture video clips successfully. Most DSLRs include a video function and so do many mobile phones. Video is generally taken in landscape format at a ratio of 16:9. If you plan to include video with still images, you must crop your still images to the same ratio – i.e. 16:9. If you have a look at some online video tutorials for shooting video with your mobile phone, you may find the images are taken vertically. This is because Tik Tok uses the vertical format but it doesn’t work well for our AVs.
When shooting video, try to keep the camera as still as possible. Using a tripod is good but may restrict your ability to follow the action. A monopod works well, or consider handholding your mobile phone with stabilisation turned on.
If you have time to set up the camera before you start taking video, I suggest that you ensure it is set to PAL if possible and to 24 or 25 frames per second. However, I am aware that video opportunities may happen suddenly and I suggest that you just take it anyway.
Once you have your video footage, you will probably want to do a little post-processing. If nothing else you will want to shorten the clip to include only the best part.
There are many apps which will allow you to post-process your images. If you have enough processing power, and you are willing to learn another new app, I would recommend that you try Davinci Resolve.
This is a very powerful video editing app which has a free version. (Note that it will not work on all computers so check carefully first.) It will allow you to shorten (trim) your clip and also to edit out the bits that you don’t want – such as a cough.
Later you may want to do more, such as colour correction. This can also be done, along with many other editing techniques, in Davinci Resolve. Try the Youtube tutorial: DaVinci Resolve 18 - COMPLETE Tutorial For Beginners in 2024!
Online AV Group
At the second meeting of this group, we enjoyed a wide variety of short AVs created by group members. The next meeting is on 20 November when Gail Stent FPSNZ will talk about her audio-visuals. Please let me know if you would like to join this group and I will add your name to the mailing list. Contact me at mcauslanav@gmail.com.
Traffic Chaos in Hanoi This is a still image captured from a video clip
FIAP News
By Anne Bastian Hon PSNZ FPSNZ EFIAP/b MFIAP PSNZ FIAP Liason Officer
FIAP Distinctions 2024/2025
It is with much pleasure that I announce this year’s FIAP Distinction recipients. These members have worked towards their distinctions by entering world photographic competitions, gaining acceptances and often medals. They have been putting their work up against photographers in salons held worldwide.
Each Distinction level has a required number of acceptances in different salons and different countries. The distinctions are lifetime awards. If you would like to know more about the process, please contact me at ajbastion@ gmail.com.
Congratulations to the following members:
Glenys Steegh AFIAP
Kirsty Wilson AFIAP
Elizabeth Passuello EFIAP/b
Trish McAuslan EFIAP/s
Liz Hardley EFIAP/d1
Congress 2024
This year’s FIAP congress is to be held in India during November. One topic to be discussed in depth is the changes to be made to the current FIAP Distinctions requirements. They were due to be introduced before Covid hit and have been put aside each year until now.
They were to come into effect in January 2025 but I think FIAP might give a year’s grace, giving those countries which apply for distinctions in January a chance to adjust. I will inform you as soon as I know what the outcome is.
36th Black & White Biennial, India 2024
It has been a long wait for members who participated in this free FIAP event.
A reminder that FIAP holds a Biennial every year, alternating between colour PI one year and B&W prints the following year. The Biennial is a competition between all the countries that make up FIAP (The International Federation of Photographic Art).
This year was a B&W Print set of 10 images. Earlier in the year we invited members to submit their images for consideration in the selection of the New Zealand entry.
Forty-four countries entered and New Zealand was placed 28th. We can feel proud of our achievements at this level as we are competing against some formidable international photographers.
How does FIAP score each submitted set?
Each image is scored in its own right, and then the set is assembled and given a score for coherence. They are then added together to give the final score for the country. You can go to FIAP and view the other countries’ entries – https://www.fiap.net/en/biennials
In addition, each individual score over “8” is eligible for an acceptance when applying for FIAP distinctions. PSNZ also recognises the top three individuals’ scores. You will see that there is often more than one person with the same score. Below is a list of the top scorers in this year’s entry.
Karen Moffatt McLeod
Harmonica Man 1st
Liz Hardley The Entertainer 2nd
David Smith
Eva Petro
Jay Drew
John Benn
Blowing Hard 3rd
The Pianist 3rd
Slow Song 3rd
In a Spin 3rd
PSNZ Grace and Movement Workshop
Aston Moss LPSNZ, PSNZ Vice President (and PSNZ Representative for this event) reports
On Saturday 24 September at White Studios in Grafton, Auckland, Sony New Zealand Digital Imaging Specialist Aaron Key led twelve workshop participants through the ins and outs of lighting and key considerations in setting up and capturing images that impress.
Alongside both explanations and demonstrations of continuous and flash lighting, participants were able to practise their emerging skills with two graceful and accommodating dancers and models. Skilfully made up and outfitted, both of these incredible young women wowed workshop participants with their willingness to try many different poses and movements and to repeat them to the point of tiredness, right throughout the day.
Aaron was generous with his explanations and shared some of his secret inside tips –never let anyone fold your backdrop, you want it ruffled not creased! He also showed participants how to bounce lighting around a model to create depth and sculpt the images as 3D forms, along with covering some very practical and sensible steps like cable management – both for your lights and any tethering you are doing with your camera.
We also covered the use of light stands, the different types of lights available and how they work. Participants learned about power requirements and options along with the importance of working with your models, understanding the poses and moves they are capable of and comfortable with, as well as how to provide guidance so that they are active participants in the shoot.
Workshop participants had the opportunity to see Aaron, an accomplished and renowned photographer in his own right, set up and take images, evaluate each image he captured, modify the lighting and the movements of the dancers, and apply their learning by practising their own shooting in the studio with the models.
Most participants would have dearly loved more time with each model and the opportunity to refine their image-making during the workshop. In order to make these events affordable, PSNZ needs to balance the cost of running a workshop of this quality by setting a reasonable price for each participant and a manageable number of participants for each event. We intend that workshops will be skill-building rather than portfolio building –although the images created by participants, as seen alongside this article, show that both can be achieved.
For those wanting to see more of Aaron's work, check out www.aaronk.nz or check out his instagram account @aaronk.nz. Thanks to Aaron for leading this fantastic workshop and also to those participants who have shared images captured on the day to accompany this article.
Aston Moss
Aaron Key by Aston Moss
Peter Rodgers LPSNZ
Sharon Souproanuck LPSNZ
Nel Davison LPSNZ
Sharon Souproanuck LPSNZ
Obituary - Ian R Wyllie Hon PSNZ ESFIAP
PSNZ Past-President
By Terry Maguire Hon PSNZ ESFIAP
With regret, we advise that Ian Wyllie, a PSNZ Past-President, passed away in Mosgiel on 22 August 2024, aged 88 years.
Ian had been a long-term member of the Taieri Camera Club before joining the Dunedin Photographic Society about 1965. He immediately became involved in every aspect of DPS activities and over the next 40 years contributed organisational and practical skills to every undertaking of that Society. His major contributions especially involved the organisation and mounting of numerous major exhibitions.
He served on the DPS Council for nearly 20 years as Colour Secretary, Monochrome Secretary, Judge and as Society Secretary for two years. He became involved with the Dunedin Festival Salon of Photography and was Chairman for six years. He was elected DPS President in 1976. Recently, until ill health took over, he also served as the DPS Patron.
His involvement with PSNZ began when he was elected to Council in 1976. He served in several capacities over many years, including custody and maintenance of the PSNZ Permanent Collection. Ian was elected President of PSNZ for the 1984-85 year.
Ian was a quiet and efficient worker who never declined a challenge, who carried out everything he undertook in a friendly, collaborative manner and who made a large number of friends over the many years he was associated with our photographic art. A good life served well.
Are Photography Workshops Worth It?
By Helen McLeod FPSNZ
Are photography workshops worth it? It depends on you!
1. Don’t listen to me.
To begin with, I am very biased – because I teach photography workshops for a living.
However, I will try my best to give an honest appraisal about why you should attend photography workshops and what to look for before signing up for a workshop – based on my experiences teaching workshops, as well as attending photography workshops in the past.
2. Invest in experiences instead of stuff.
One of the best reasons to attend a photography workshop is that you can learn how to make better photos. I believe that investing in experiences is a much better investment than investing in stuff (like camera gear, equipment, etc).
$500 can give you lifelong tools to improve your photography, forever. $500 can maybe buy you a lens in terms of gear, which will probably end up collecting dust somewhere on your shelf. Or even worse, a $1,500 digital camera will become outdated and redundant in two or three years.
The great thing about education and experiences is that they will stay with you forever and continue to pay dividends over time.
3. Who should not attend a workshop?
Workshops aren’t for everybody. You have to know yourself.
Do you prefer being in a group setting, and getting encouragement and guidance from an instructor? Or do you prefer to fly solo, and teach yourself?
I don’t think it is good to attend a photography workshop if you’re not willing to try something new. If anything, the point of a workshop is to try something new – to push yourself outside of your comfort zone, and gain a new perspective.
4. The benefits of workshops
The benefit of attending a workshop is that, in just a few days, you gain distilled wisdom from photography from the instructor. Talk about an efficient use of time.
Not only that, but a side benefit of attending a workshop is that you gain new friends. Honestly, half the time the most memorable thing from a workshop isn’t the photo-related stuff – it’s catching the morning light and talking about life with like-minded people. I think it’s the same with the workshops that I teach – it is less about photography, and more about building confidence, conquering your fears, meeting new like-minded peers – and hanging out afterwards, relaxing over dinner and a wine.
I think the greatest thing about photography is how social it is. I like going out and making photos with others, because it is a time to connect more deeply with someone who shares the same passion as you do. And workshops are a great place to meet equalminded peers, and other creatives. It is like throwing a bunch of colours into a barrel, and all that mixing gives you new ideas, and a new colour and hue.
5. Choose your instructor carefully.
The important thing about attending a workshop is to choose the right teacher. You want to choose a teacher whose work you like. But the sad reality is that the best photographers are often not the best teachers.
You need to have realistic expectations. If your photography idol is teaching a photography workshop, don’t expect them to hold your hand the entire time. Always expect them to hang out and talk with you. Many photographers are artists – not teachers. And the best photographers often don’t know how to teach their craft.
Regardless, I still think it is better to attend a workshop with a skilled photographer than with a skilled instructor because at least you can gain nuggets of wisdom from a true practitioner – rather than someone who might be a great teacher but doesn’t know how to make good photos.
I know for myself that I am not the world’s best photographer. Far from it. I think I have above-average photography skills, but I have a lot of confidence in my teaching skills. I genuinely care for my students, try to show them love, and try to impart as much wisdom and as many practical tips as possible.
6. You get what you put in.
You get what you want from the workshop relevant to the effort you put in.
Sometimes this means working hard, especially if you want to improve your photography. This might also mean going outside your comfort zone and facing your fears regarding an aspect of photography.
Educators can be a great spark to inspire you to take the first steps.
So, when you attend a workshop, know that you need to work hard if you actually want to improve your photography. You can’t just attend a workshop and expect your photography to be spoon-fed to you.
7. It is good to pay money.
Honestly, we all love “free” – I know I do. Yet, the irony is that by paying money – you work harder. For example, if you attend a photography workshop and spend $2,000 — you’re going to work really hard to make sure you get your money’s worth.
The pain of losing money is horrible. Therefore, you motivate yourself to go and work.
A lot of the students who attend my workshops want to conquer their fears in photography and editing. Therefore, they spend good money to attend my workshops and often spend a lot of money on their flights and accommodation. So, when I give them a photography assignment which makes them feel uncomfortable, they are more likely to do it – because they have made the monetary investment.
8.
What do you want to gain from a workshop?
Something else to consider when you attend a workshop – why attend one? Do you want to improve your photos, do you want the teacher to pat you on the back and tell you that you’re a good photographer, or do you want to find more personal meaning and direction in your photography?
One of the benefits of attending a workshop was that it helped me gain focus. It helped me realise that my primary strength was landscape photography and I needed to make photos with emotion and soul.
I also learned that photography is more of a personal journey for me. I prefer working on series and projects rather than just random snapshots, and finding more meaning in my life through my photos.
9. Photography workshops aren’t for information.
You can find all the information you want about photography on the internet. You don’t need a workshop for that.
For example, everyone who attends my workshops already knows all the information I have given online for free. What they are looking for is an experience. They are looking to be given support, direction, and practical tips and techniques that can only be demonstrated in real life.
Not only that, but a lot of the students are interested in meeting like-minded photographers. A lot of students who are interested in photography don’t know any other photographers in real life. So, building a network from the students is great. A lot of my students keep in touch and become friends both during and after the workshop.
So, if you want to attend a workshop to gain more information, save your money. Just read free articles, watch YouTube videos or read some of the information on my blog.
11. How to choose your teacher
Of course, anyone can teach a workshop, but whether the workshop will be good or not is a different question.
If you’re considering signing up for a workshop, I’d recommend googling reviews of that photographer’s workshops. Not only that, but check how long they have been making photos, and how long they’ve been teaching.
Generally, photographers who have been teaching workshops for a long time (and are still teaching) are good. You want to know the personality of the photographer before you attend the workshop. Are they a hands-on photography teacher, or hands-off? You need to find the photography teacher that suits your temperament, just as you need to find a shoe that fits your foot.
You also want to attend a workshop where they put you to work, one where they give you photo assignments – instead of sitting in a lecture room and swallowing information.
12. What is the worst-case scenario?
10. Have realistic expectations from photography workshops.
If you attend a workshop and have gained at least one new idea that changes the direction of your photography in a positive way, the workshop was worth the investment.
You won’t become the next Henri CartierBresson after attending a workshop. You won’t gain a million social media followers. The most important thing isn’t the workshop. It is what you do after the workshop, with the new tools you learn from the workshop you attend.
The worst-case scenario when attending a photography workshop is that you waste money and learn nothing valuable.
So, if you sign up for a workshop, expect to get nothing from it, but still work hard, ask questions, and be inquisitive. If anything, one of the most valuable things about attending a photography workshop is getting to know the photographer you admire in real life and being able to build a real-life connection.
13. What if I can’t afford a workshop?
If you have no money, you can still learn from the masters of photography for free – especially the dead photographers. Read articles on them, see their images online for free, and watch their interviews on YouTube. You can still learn a lot from them.
14. Education is always money well spent.
The Roman emperor/stoic philosopher, Marcus Aurelius, said that he was grateful for all his private teachers when he was a child. He knew that investment in education was always money well spent.
I agree. A lot of education is superfluous, but any investment in your personal growth and investment is worth it. So, buy books, not gear, and attend workshops, not laptops.
15. Conclusion: You decide.
Once again, I am very biased – because I teach workshops for a living. At the end of the day, make the decision for yourself.
EOS R5 Mark II MASTER
UNLEASH YOUR HYBRID CREATIVITY
Whanganui Camera Club Captures Local Churches for Posterity
By John Smart APSNZ and Vivienne McLean
More than 20 members of the Whanganui Camera Club have been working hard since February to capture an historical photographic record of the churches across the wider Whanganui region. The project was inspired by the late longtime club member Gail Imhoff, who encouraged the club to capture this photographic record while the churches were still with us. Gail died just a few weeks later and the Club is delighted it has been able to follow through on her concept.
A total of 70 places of worship have been captured in the project. A special element of the project has been the involvement and support of the churches along the Whanganui River – at Kaiwhaiki, Parakino, Koriniti, Ranana and Hiruharama/Jerusalem.
The awa was an important part of Gail’s life and she would be delighted that these churches have now been recorded for future generations to see.
A public print exhibition of a selection of the churches chosen for their heritage, aesthetic and architectural qualities will be displayed in the Whanganui Arts Centre. In addition, all 70 churches photographed will be showcased in a continuous audiovisual presentation during the exhibition.
Most of the churches in the exhibition will only be known to the wider public from the outside, so we were very grateful to the members of the various churches who allowed us to take photos inside their buildings. This has resulted in great photographic diversity, from the familiar exterior shots to the interiors and details that reflect each church’s special character.
This year’s project follows on from the Club’s successful 2022 Domestic Houses Historical Record and, similarly, the more than 2000 photos taken will be archived for future public access in Whanganui’s Alexander Library.
St Joseph’s Jerusalem Heather Mackenzie
PSNZ members are encouraged to come to Whanganui to see the exhibition which will be running in parallel with our Annual Members Exhibition. It is open daily from 10.00 am to 2.00 pm from 5 to 12 October in the Whanganui Arts Centre at 19 Taupo Quay.
Let us know if you are coming – we’d love to see you.
St Mary’s Guyton Street Sharad Kumar
Mangamahu Church Jill Hurley
St Mary’s Upokongaro Vivienne McLean
PSNZ Membership Benefits
Expert advice to help improve your photography.
The opportunity to achieve a higher Society distinction (LPSNZ, APSNZ, FPSNZ).
New Zealand members receive a complimentary copy of New Zealand Camera, and you can submit your images for selection in this annual publication.
Access to member only resources, including a member only PSNZ Facebook page for social chat and updates with other members.
The opportunity to enter the Canon Online Competition, with trophies for each round and for the overall winner each year.
Discounts for Society activities, such as the annual PSNZ National Convention, special workshops, international competitions and much more.
The opportunity to participate in regional meetings and events, including the PSNZ Workshop Series.
A copy of our bimonthly magazine CameraTalk, with news, reviews, events and some of the best photography around.
The opportunity to show your work in exhibitions such as the PSNZ Sony National Exhibition, regional salons and other member only online competitions.
Access to judge training workshops at a reduced rate for PSNZ members.
Ability to promote your website on our website.
Receive regular blog posts to stay informed of the latest news on events, activities and special offers.
Product discounts and savings offered by our corporate partners and associated companies.
Discounts for major NZIPP events as a PSNZ member.
Ability to join a PSNZ Print Circle.
Nelson National Triptych 2024
Peter Wise FPSNZ reports
The Nelson Camera Club is pleased to announce the successful conclusion of the 2024 event with the recent Presentation Evening hosted by the Buller Camera Club as part of the annual Seddon Shield Photographic Convention. The event is shared by the Buller, Westport, Nelson, Marlborough and Motueka camera clubs. Although all entries were digital-projected only, the highest eighteen awarded entries were printed, mounted and displayed for the duration of the convention. They were then given to the authors to keep.
The three selectors for this year were Lou Marafioti EFIAP/G GMAPS, a Grand Master of the Australian Photographic Society, Alison Viskovic FPSNZ, well known in PSNZ circles, and Jane Connor, with many years’ experience in book publishing.
Meg Lipscombe’s entry Mouse on the Menu received the Champion Nelson National Triptych Salon Trophy for 2024. The selectors commented, ‘An excellent example of a narrative triptych. There were no extraneous elements and we were able to concentrate totally on the owl doing what owls do and, by the bird's expression in the third image, very much enjoying doing it!’
Meg commented, ‘I was captivated by the rescued barn owl at Wingspan in Rotorua, especially with the “mice treat”. I took numerous images, but these three shots stood out as I felt they told quite a story, especially the look of bliss in the last shot.’
We would like to thank everyone who participated in the salon, and we hope that you had some fun! Now it’s time to plan for next year's salon. To view the audiovisual, see the results and learn more about this salon, please visit; nelsoncameraclub.co.nz/introducing-triptych.html
Champion Entry: Mouse on the Menu Meg Lipscombe FPSNZ
Best Monochrome: Make a Wish Colleen Linnell
Best Sport: Too Late for Regrets Vivianne Baldwin FPSNZ AFIAP
Best Morning, Noon and Night
Morning, Noon and Night at Castle Hill Yan Yuan LPSNZ
They Say They Come in Threes
By Kevin Clarke ANZIPP
Poolburn Reservoir sits high above the Maniototo, atop the Old Man Range. It is a beautiful, rugged mix of granite tors and red tussock, serene one minute and stormy the next. The reservoir is dotted with amazing fishing batches (or cribs as they are called down here).
These good old-fashioned, kiwi style, havens away from the hustle and bustle of the city, make for amazing photographs. Such a peaceful place. Who would have guessed at the drama that was about to unfold?
As the guest photographer for this year’s Ashburton Photographic Society winter workshop in the Maniototo, I had planned an itinerary to get the absolute best out of the region’s fantastic photo locations which should always (weather permitting) include Poolburn.
We were all staying in Naseby, and our early morning convoy of nine cars set off in the dark from outside the old post office. Now the day before had been a roaring success with photos from Home Hills, Patearoa, where we checked out the old farmhouse and had an impromptu model shoot from Kevin Costner, aka yours truly. A lovely lunch at the Wedderburn Pub, right next to the big green shed made famous by Grahame Sydney, and then we were off to Falls Dam for sunset. A great day out and spirits were high, ready for another good day.
Poolburn Reservoir at sunrise
The author doing his best to be Kevin Costner for the model shoot. (courtesy of APS)
The roads were icy, and dirt roads get bumpy when it’s icy, but not that bumpy I thought. We pulled in to check the tyres and yep, you guessed it, dead as a dodo and none too good a shape. Nothing for it but to change the tyre. Malcom, one of the members, got to work and within minutes we had the new tyre on, and away we went.
A message comes through on the group whatsapp. One of the cars can’t get its windows up and everyone is freezing! Did I mention it was currently minus four degrees? We stop at Oturehua, outside Gilchrist’s wonderful general store, to rearrange passengers. I’m starting to worry about the light now. We’ve lost almost half an hour already but there is still time to get up the hill in time for sunrise.
We set off again, a long string of lights meandering down the Ida Valley, through a mist-covered Moa Creek, finally onto the Old Dunstan Road as it claws its way up towards Poolburn Reservoir.
Now they do say that bad things happen in threes and the last thing you want to do is wonder what number three will be, or even mention it at all, but a certain person in the back seat of the car asks just that. Tempting fate indeed.
We literally bump and twist our way upward as the road gets rougher and rougher until, finally, we are almost there. We, or rather I, decide that the normal road is too rough and it would be cool to get a view from across the reservoir looking back toward the sunrise. We head right, through even rougher conditions, eventually stopping at a spot which gives a beautiful view across the lake to the north-east and across to Mt Aspiring and the Alps to the west.
Spilling out from the cars, tripods and cameras in hand, I give my first briefing, talking about the landscape and where best to set up for the sunrise, mentioning to be careful, it’s icy on the rocks and tussock can be deceptive. Everyone then positions themselves to catch the sunrise.
Such a beautiful, peaceful place on a winter’s morning. The lake is frozen over and the air is so still, you can hear the booms of the ice cracking under the surface, as if a pod of whales had taken up residence. The sky started to colour and the winter sun finally sneaked into view out across the Mt Buster and Danseys Pass, sending long fingers of warm light across the reservoir. So beautiful.
Ashburton Photographic Society Winter Workshop 2024
Everyone is intent on capturing the scene when suddenly to my right there is the crash of a tripod and camera on the rocks, then a string of very choice words. Someone has slipped and fallen.
We all go to her aid. She is lying on the rock, not moving. Thankfully she is lucid and there is no head injury, but her ankle is clearly broken. More choice words, quieter this time, but tough as nails, she manages to elevate her foot (to reduce the swelling) and then jokes about things happening in threes. A trooper.
Reassured that her camera is fine, she is carefully wrapped in the many blankets and heat foils offered by the rest of the group, and we make her as comfortable as possible. I have a discussion with Nel, the club chief organiser, and we both agree that there is no way we can get her out in an ambulance. We need a helicopter.
She heads off up the hill to get a signal and calls 111 to arrange for air rescue, while I talk to the group and get them organised. Thankfully, I’d only recently had a first aid course renewal, as had Jo, so we remained with the patient, liaising with Nel as she got more info from Air rescue. In situations like this, the way the patient and the larger group react is paramount.
The calmer everyone is in these situations the better it goes and I have to say that everyone did as I asked, without question, and offered blankets, jackets, warmers and more. You couldn’t ask for a better bunch.
I’ve always been in favour of looking on the bright side of things (my cup is always half full), so the rest of the group were given a very quick lesson in how to capture the event from a PJ angle, especially since the New Brighton National PJ comp was still open for entries! Shutter speed set at 1/125, f5.6 and auto iso, were the recommended settings. Oh, and please stand well out of the way of the landing area.
While Jo and I waited on the rock with our patient, having deep and meaningful conversations about whether the clouds above our heads looked like turtles or elephants, why do bad things happen in threes, was f16 better than f2.8, the fun of focus stacking and exposure bracketing, and of course how good it was of her to be injured so everyone could get some helicopter shots in their portfolio. It wasn’t too long before we could hear that distinctive “Good morning Saigon thump thump thump” of the rescue helicopter coming in from Dunedin.
The “helo” circled above us, looking for a landing spot, finally choosing the rise above the track, thankfully well away from where we had parked the cars. We must have made a cool site, a long line of photographers, snapping away, as the pilot landed.
Steve the pilot hunts for a spot to land.
Dave the medic gets our patient ready for flight.
On arrival, the medical crew got to work. Dave, the lead, was superb. Calm, goodhumoured, professional, working away and keeping our patient in good spirits with his continuous banter.
The decision was made that it wasn't possible to move her to the helicopter, so we would use the harness, lift her using the helicopter, then move across to an area where she could be placed in the stretcher for the flight back to Dunedin. Once the patient was sedated, (something akin to drinking twenty gins, according to our patient), Dave and I worked to get her into the harness, while Nel explained to the group what was about to happen. They were busy clicking away and recording the whole event for posterity (and hopefully a few awards in that upcoming PJ competition).
Steve, the pilot, brought the helicopter in above the rocks and Dave lifted her to the helicopter doors. Then the helicopter moved slowly back across to the landing site where she was transferred into the stretcher. From there it was a simple case of securing her in the helicopter and then they were away to Dunedin for surgery.
It all sounds very straightforward looking back, but it never is. The plus side is of course that our patient is now recovering well and there are plenty of images that her friends will share with her. An eventful morning indeed. Personally, I am relieved that everything went well with the rescue, and I can’t thank the members of the Ashburton Photographic Society enough for their support and assistance that morning. They were awesome.
Once the helicopter had left the silence returned, and we were back to our landscape.
Our patient is lifted into the helicopter
The patient is finally into the stretcher ready for the flight to hospital.
The Air Rescue helicopter from HelOtago heads for Dunedin with our patient
After a quick chat and closure on the big event we’d all just participated in, we returned to the theme for the weekend, namely, how to frame your image, what to include and exclude, and how to simplify the story. The granite tors made perfect frames for the spectacular views out across the valley to Mt Aspiring and beyond.
We drove back around to the fishing huts on the shore of the reservoir, capturing some wonderful shots of the cribs and the rock formations. Then it was time to head back down the hill to Omakau and lunch. The next two hours were designated as “free time” to explore the region as you wanted, all meeting back at our Naseby house for a final debrief before heading to the Royal Hotel for our farewell dinner.
Nel, Jo and I headed up to Drybread, intent on visiting the cemetery there, but yours truly overershot the entrance and ended up in the driveway of the farm next door. It included the old Drybread Hotel, now derelict and used to store sheep dags. There was a shearing gang hard at work in the shed and, after asking the farmer and the gang boss if it was okay, the three of us were invited in to take photos of the shearing gang working the sheep. We were welcome to capture the old hotel (at our own risk) and we took advantage of this with gusto.
The fun didn’t stop there though. As we left the farm, it was noticed that our replacement front tyre was really flat too. ‘Here we go again!’ we all thought but Jo, whose husband comes from this area, spoke to a local farmer who just happened to be in her driveway.
She very kindly took us to the farm next door and her husband sorted the tyre out for us. Of course, this farm just happened to be where Jo’s husband had grown up. New Zealand is a village for sure and we are only two removed from someone we know –everywhere we go!
We finished off the day with a relaxed Q and A session before heading up to Mt Buster for our final sunset and then retired to the pub ready to enjoy dinner.
This was a wonderful weekend away in the company of very enjoyable people, all keen to learn and share – which is all you can ever ask for as a tour leader. We didn’t always get the weather or the light we wanted, the main group missed out on the hoar frost which finished the day they arrived, and sunset was never as spectacular as you want it to be but, to be fair, this weekend was never about that. ‘I am good, not God!’ is a phrase I often use. This weekend was about sharing as many of the wonderful locations that the Maniototo has to offer a photographer. Every day is different here and each location has a unique story to tell through the lens.
I will of course be back again, and again. The Maniototo, its landscape, its people, its history; they remain my favourite destination. I love this place. There is no doubt in my mind that the group from APS now feel the same. You will too, when you head south.
Kevin Clarke is a Christchurch based, international awardwinning professional photographer who runs photo tours here in New Zealand and overseas. He has published two books, the latest of which, Mainland, is available in all good book stores. You can view more of his work at www.kevinclarke.co.nz
The fishing huts at Falls Dam, just after sunset with the Hawkdun Range in the background
In the last issue, we considered the many options we have for photographing the Moon. In mid-September, a NASA-led community event took place around the world –“International Observe the Moon Night”. As we’re now past the Spring Equinox, we head into longer days and shorter nights, and the Moon is a great astronomical subject for the warmer months. But, how can we best capture photographs of our closest celestial neighbour?
This article will focus on techniques for those with DSLR/MILC cameras and a telephoto lens to obtain images that reveal the Moon in detail.
The Moon is often the first subject I encourage those looking to explore astrophotography to start with. As our closest celestial neighbour, it’s large and bright and allows you to practise techniques that will come in handy when you turn your attention to the stars in due course.
Techniques such as operating your camera in low light conditions, manual focusing, manual camera operation and post-processing techniques, will be covered in a later tutorial.
With modest equipment, you can photograph the lunar surface in surprising detail, and you can then share them with your friends and family on social media. Or, why not produce a print? The stark contrast of the lunar surface works well for black and white prints, or perhaps you could try a fine art metallic paper.
Recommended equipment
• DSLR or MILC camera (fully charged battery, memory card)
• Tripod
• Telephoto (zoom) lens with a focal length of at least 300 mm (full frame) or 200 mm (APS-C)
• Cable release/Intervalometer (optional)
Tripod
I recommend using a tripod, especially when you’re starting out, but if you don’t have one then you should still obtain acceptable results with a good handheld technique. Using a tripod allows you to steady your composition and gives you time to sort the rest out as you go, without having to rush.
Set your lens to its maximum focal length and turn off auto-focus and any lens stabilisation functions.
Switch to live view on your camera and aim towards the Moon. Your lens will be at its best in the centre, so that’s where you should try to keep the Moon, to allow you to record the sharpest details. The Moon will move pretty fast through the frame (the longer your focal length, the faster it moves, relatively speaking) so you may need to re-centre your composition every few minutes or so.
Focal Length
The longer the better! Check the diagram below to see how much sensor real estate is occupied by the Moon at various focal lengths.
With today’s high-resolution sensors, heavy cropping will still produce a very usable image for small prints and social media sharing from even a medium telephoto lens. Tele-converters can be useful; the Moon is certainly bright enough during most phases to cope with the reduction in light-gathering ability.
Raw or JPEG?
I recommend shooting raw files to give you maximum control over the dynamic range during processing.
Focus
Autofocus should work for most images of the Moon but the camera’s focusing system will typically work best if the selected focus zone is set on the edge of the Moon as
there’s plenty of contrast between the bright moon and darker sky around it – it’s this contrast that the autofocus system needs.
If you’re trying to focus in the middle of the moon, there’s possibly not enough contrast to allow autofocus to work correctly. You may need to look for a setting that lets you manually choose an autofocus point and pick one to suit. That being said, I personally prefer to work with manual focus which we’ll cover next.
Confirm that the lens is set to manual focus and use live view at maximum magnification to focus on the Moon. The image on your live-view screen will move around due to movements such as you moving the focus ring or bumping the camera, but when you take your hands away and the view steadies, you’ll be able to see if you’re “bang on”.
The outline of the Moon will be crisp, sharp and bright, with craters clearly visible if you’re focused; otherwise, an out-of-focus image will have a fuzzy appearance. It’s worth spending the time to do this right so don’t be in a rush.
Focal-length-vs-apparent-lunar-diameter
If the Moon moves out of frame too quickly, recentre the composition and keep working at it – you’ll get there!
Exposure
When metering for an exposure of the Moon, it’s easy to blow out the highlights and overexpose bright details like the ejecta rays extending away from craters. The Moon’s surface is an excellent reflector of sunlight –that’s why it’s so easy to see it.
But these highlights, if not handled carefully, will result in an overexposed image with little you can do to recover the little details later. Underexposing by a stop or so will help, and I recommend getting comfortable with your camera’s manual exposure mode (you’ll use it for other astrophotography too).
Check that your screen is showing a live histogram and set an exposure that protects the highlights (the right-hand side of your histogram). Exposure settings will vary, depending on the phase of the moon and the amount of light in the sky. The Full Moon is incredibly bright and you’ll use a much faster shutter speed than if you were shooting a crescent moon.
I typically try to shoot at an aperture of f/8 to f/11 for the sharpest results from my lens, with an ISO from 100 to 400. Shutter speed needs to be fast enough to freeze the apparent motion of the Moon and protect the highlights. If your chosen shutter speed is resulting in motion blur, then maintain a correct exposure by opening the aperture a fraction or increasing your ISO.
If all else fails, try the Looney 11 rule. Set your aperture to f/11 and your shutter speed as the reciprocal of your ISO. At ISO 200, your shutter speed will be close to 1/200s for a fairly decent exposure.
Shooting technique
Double-check that your focus and composition are correct. If you don’t have a remote cable release or intervalometer, set a time delay of 2 to 5 seconds to take care of any movement caused when you press the shutter button. Stay in live view and increase magnification to maximum.
Canon EOS R6 | Canon RF 100-500 mm
500mm f/8 1/400s ISO 400
Multiple frames stacked in Registax to improve sharpness
When the Moon is nice and steady on screen, go ahead and open the shutter with your cable release. Review the image by checking focus, composition and histogram results. Remember that any data bunched up on the right side of the histogram is likely to be data you can’t recover later.
How many image should I shoot?
You’ll be surprised at the effect our atmosphere can have on your images. Even on a clear night, distortions in the atmosphere can cause lunar images to appear soft in parts. This is something astronomers call “seeing” conditions, and some nights will be better than others.
Cold, clear, still conditions are usually best, so rug up warmly and enjoy the experience! You’re also likely to get the clearest images when the Moon is overhead your position rather than near the horizon. This is because you’re looking through a relatively thinner slice of the atmosphere when you look up, rather than looking towards the horizon.
So, take multiple exposures, rather than just one, and when you review them on a larger screen later on, check to see how sharp the resulting frames are from one image to the next. Don’t discard any of these frames though; save them.
Once you’re comfortable with the processing, you can learn how to stack multiple exposures to improve the overall sharpness of the resulting image. It’s a good opportunity to use those high burst frame rates that modern cameras are equipped with – provided you have a remote release of course! Now that you’ve got plenty of images captured on your memory card, you can import them onto your computer and process them to taste.
Clear skies!
Soft Apparatus - A Journey to FPSNZ
Martin Richardson FPSNZ elaborates
I don’t know about you, but despite living all my 50-something years in English-speaking countries (United Kingdom, West Indies and New Zealand), I’m not sure I had ever heard the word “Licentiate” before joining the Hutt Camera Club in 2016. Eight years later I’m a “Fellow”. For a while I was an “Associate”. Fancy words. I reckon they mean I’ve achieved the objective I set myself when I joined my local camera club – to do more with my photography than taking a half decent snapshot.
Sadly, Hutt Camera Club (HCC) is no longer with us, but without it I would never have even thought about photographic honours, let alone making it to Fellow.
The first step on my journey was to enter club competitions. I’m not a competitive person, but I thought the feedback would be helpful and allow me to judge how much I had to learn.
As it turned out I did pretty well, mostly because I don’t like criticism, so I tried hard to take on board the points that judges made, not to make the same mistake twice, improve and put my best work up for more feedback. Shooting to the competition themes stretched me into new photographic genres.
People started talking about going for their Licentiate honours. This sounded like a big step up. I had never thought about “sets” of images before, only whether individual photos were okay. Inspirational were William Wright FPSNZ with his work on the urban jungle, Helen Westerbeke FPSNZ with her bleak images of soviet industry, and Chris Parkin APSNZ who encouraged us newbies with insights, tips and skills. All of them seemed more creative and skilful than I would ever be.
Phil Benge LPSNZ also deserves a mention as a great neighbour, designated driver on club nights, and loud proponent of HCC being the friendly club.
Having been inspired, the next challenge was making sense of the honours guidelines. Struggling to do so initially was probably why my first “L” submission failed. How does a set of images “hang together” whilst demonstrating variety and a diversity of approach? If you’ve achieved PSNZ honours, you know the answer to that conundrum. But when you are planning, trying, failing and trying again you are still working it out.
Eventually I did work it out, and then went back to back on my “L” and “A” sets, both times using the concept of the images walking the viewer through a story told in the images and their titles. For example, whilst I brought consistency to my “L” set through colour transitions, the concept of a journey in the images but also the titles were what made the set work in my view.
My Licentiate titles: Looking forward, to the mountains, where the prayer flags fly, Driving, to a holy place, the home of saints, a place of power, of purity, to reflect.
This was an achievement, but being someone who can’t leave a job half done, I knew that I had to strive towards Fellowship.
Ideas on how to approach the challenge came from two directions. Firstly, club mate Rob Vanderpoel LPSNZ who suggested a brilliant course at Wellington High School Adult Education called The Creative Eye.
And secondly, reflecting on a father and son project completed some years prior at a community bike workshop, The Mechanical Tempest, where my son and I had built a bike from disused parts.
First, The Creative Eye. Less a technical photography class, more a challenge to think creatively about the craft. ‘Making images is about seeing, making creative images is about seeing the potential in subjects that others walk past as not worthy,’ we were told. ‘Making creative images requires that you have some intention of what you want the image to accomplish.’
To stop us falling into our comfort zones we were allocated random words to shoot to. Mine were “soft” and “apparatus”. We had to think deeply about meaning and interpretation, the perfect start to meeting a statement of intent.
This is where things started to connect and the kernel of an idea was born. The bicycle my son and I had built together was, in a way, a piece of apparatus. It was also a project worth remembering. Producing imagery of the project seemed like an opportunity. My son had hung the finished bike on the wall, so it was already art. Photographing it would be a next step in its artistic progression.
But if the bike was artistic apparatus, how was it soft? After some thought it occurred to me that a bicycle is soft in all sorts of ways. It is soft on the environment. It is made of soft materials – rubber and leather as well as malleable steel, and it travels through space making a soft impression on a scene through time in a way that, say, a landscape or a building does not – designed to move rather than remain static – with moving parts propelling its structural elements.
I thought, through a combination of lighting, backdrop, techniques that played with shutter speed and depth of field, and shooting through material that would blur and distort, I might be able to convey the essence of the bike as soft apparatus.
The bike was hanging on my son’s bedroom wall, which itself had been splatter-painted by the whole family as a representation of The Stone Roses iconic 1989 album cover – itself a Jackson Pollock homage. Backdrop sorted.
Next, I decided that the set of 18 images would explore the materials and structure of the bike. For each part chosen for focus, the idea was to convey softness, motion (for moving parts), mechanics and structure. For every composition I took four images:
• Static, in focus;
• Long(er) exposure, in motion;
• Out of focus;
• In focus but distorted by shooting through the base of a jar.
I shot all the images in two short sessions. I should have worked harder in the first session to maximise the number of compositions I had available. That would have been far easier than colour grading the two sessions to match. I only used available light, and conditions varied between sessions.
Once all the shots were processed consistently I layered the four shots in Photoshop and used masking and opacity to bring forward, hide or emphasise parts of each image. My aim was to guide the viewer towards a point of focus – a detail of the bike’s materials – whilst conveying an overall sense of softness.
I was happy with how the series of images came together, so I put a set together and entered it for consideration. That was in 2022.
My submission failed, and rightly so.
Going back to my early days in competitions, the value was in the feedback, which was excellent. Combined with encouraging comments from the FPSNZ Facebook page I decided to try again by:
1. Editing my artistic statement of intent to make it more specific;
2. Reordering to improve the flow of my digital set; and
3. Swapping out (I think perhaps two) the images for ones that flowed better.
The problem with point three was that I didn’t have many unused images left, and I no longer had access to the bike (my son had left home) or the backdrop (we had moved house).
So, in effect, swapping two images actually included cropping one existing image to a different composition – the learning from this being that more (good) shots to choose from makes putting a set together so much easier.
Small changes, but they did make for a better set, and that is why I was delighted to be successful with my 2023 submission.
My reflections on the journey to FPSNZ:
• Shooting outside your comfort zone is good, and helps you grow as a photographer and artist.
• Competitions are more about the feedback than the winning.
• Criticism can be hard to take, but the value is in reflecting, not being defensive, taking on board what resonates and learning.
• It’s best if a statement of intent is exactly that – a plan for what the images are intended to convey, not a retrofit of how they hang together.
Oh, and Micro Four Thirds is not dead – all my honours sets were shot on my Olympus OM-D E-M1 II.
Congratulations to Ron Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS, winner of the Canon Online Round 6 for 2024. There were 98 entries in this round.
About Ron...
In 1974, at the age of 20, Ron became the youngest Associate of the Royal Photographic Society in the world! In 2015 he was made an Honorary Life Member of the Photographic Society of New Zealand for his contribution to photography in New Zealand and Australia, being a photographic Fellow of both countries.
Ron is a seasoned creative digital photographic artist who travels extensively. He has been a frequent keynote speaker at various Australasian photographic conventions and has won the National Salon of Photography, Robinson Cup and PSNZ Gold Medal six times. He has been an enthusiastic photographer for more than 50 years, judging nationally and internationally.
But more than anything he enjoys photography and helping others with their photography. It is part of his life and it allows him to see what a wonderful world we live in.
About the winning image...
Venice is a wonderful place where I have stayed for many days. Working late in the day with warming light, I wanted to give a feeling to the place, and this I did in Photoshop. I used a combination of motion blur and opacity filters, giving the photo both a sinking and uplifting feeling. Minor repositioning of the boat added the romance.
The judge for this round was Lynda Mowat LPSNZ.
She writes...
Photography was initially a tool for me to continue recording family events, but the desire to take better photos, particularly of my son’s sport and action on the rugby field, soon saw this hobby grow into a passion. Then, when my boys left home, our dogs became the catalyst for my enduring love of pet photography, and all things furry or feathered.
These days, I enjoy exploring many different genres, and each one has its own set of challenges. Within them all, I strive to capture the emotion behind what we see in an effort to tell the whole story, within the confines of the frame, and give the viewers the best possible experience.
Nature, and all its inhabitants, continue to provide me with a never-ending supply of models, materials and interesting items to capture.
Thank you for the opportunity to judge this competition.
Judge’s comments
What a joy it has been to look through all these amazingly engaging images. The tricky part was picking only 10.
With so many fine examples of photographic talent, those small tweaks make all the difference. Thank you for sharing your art.
1st
by Ron Willems Hon PSNZ FPSNZ FAPS AFIAP ARPS
Instantly recognisable as Venice, the ICM factor on the buildings in this image hints at the very real threat – this beautiful city is sinking and nothing is permanent. In contrast the gondola, with people on board, depicts more stability to me, and I wonder if the romance is with Venice itself, or on a more personal level, within the boat. Perhaps we’d like to think romance is permanent, against the more transient nature of anything man-made.
Venice Romance
This beautiful portrait of a godwit has the bird looking larger than life, and deservedly so when you consider the Herculean effort of flying 12,000 km to be in the right place at the right time! The artistic finish to the image somewhat softens the environment while at the same time accentuating the features of the bird, which looks as if it could turn around and fly back another 12,000 km without a sweat!
I read somewhere recently that all humans are 99.9% identical in their DNA. But what a difference that other 0.1% makes. This image speaks to me about culture, contentment, self-confidence and awareness. Things that we all continually strive for, no matter where we are from. For me, it highlights the differences that exist between us, which can be externally so visible, whilst internally we are all so incredibly similar.
2nd After 12,000 km by Deborah Martin APSNZ AFIAP
3rd The Holy Man from Pashupatinath by Lia Priemus
With the tennis court providing an angular background, we are treated to the capture of an airborne Coco, displaying great power, commitment and concentration!
4th The House of Rock by Mike Gannaway
There is so much to look at and enjoy in this whimsical image. The main “house”, with the teddy bears looking out the window in front of the Apple computer. The guitar on the left, upside down, masquerading as a hot air balloon, complete with photographer in the basket. The TVs made into birds circle the house. It’s a fun image, well worth taking some time over, to explore.
With some movement evident on the ball, as it flies through the air, Coco herself seems almost suspended in mid-air as she completes her follow-through. A moment in time, caught forever, where Coco can reflect in the future on her remarkable athleticism and precision on the tennis court.
7th Swirling Mist by Meg Lipscombe FPSNZ
With the mist thickening, as we go deeper into the image, I feel that I am transported into the bush, where I can almost feel the dampness and the cold surrounding me. Not somewhere I’d like to be lost!
6th The Spirit Bridge by Lynda Leng LPSNZ
This bridge with its dark surrounds looks like the kind of place we would be warned to stay clear of! You never know what might be lurking in the shadows. Maybe some have gone before and not made it to the other side. What stories they could tell! These spirits look friendly enough, and the swirling skirts suggest a group of women sticking together on a night out. Perhaps spirits also believe there is safety in numbers!
8th Honoured by Jackie Lowry LPSNZ
A truly remarkable woman, captured here with her experience and service depicted in every aspect. Initially drawn to the image by her proud demeanour, and the weight of the medals she wears, I needed to know more, so found the name tag and googled her. It makes an interesting read, to go with this powerfully engaging image. I particularly like the way all that adorns her makes a statement, right down to the poppy scarf and the pounamu around her neck.
Julia Seagar LPSNZ
When you’re late, everything seems to be an uphill battle, and the battle feels very real in this image. The frantic pedalling, and spinning of the wheels, the monochrome effect and the anonymity of the image, all help enable us to identify with this feeling of panic.
10th Calling by Jo Curtis APSNZ
Initially attracted by the high contrast black and white treatment of this image, the angles drew me in, with a softening around the centre from the bell lip and the tip of the spire. With the cross depicting a spiritual calling, alongside the more literal calling of the bell tolling, the clever title has a double meaning, well portrayed in the centre of the image.
