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CONTACT US NZ Institute of Professional Photography (NZIPP) P.O. Box 133158, Eastridge, Auckland 1146, New Zealand w: www.nzipp.org.nz e: info@nzipp.org.nz f: @NZIPP i: nzipp_national
COVER Esther Bunning - NZIPP GM. Photog.
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We welcome your feedback and thoughts. If you have any questions or something to say, we’d love to hear from you, send it through to: info@nzipp.org.nz PRO Report is a publication of the NZIPP © NZIPP 2019. All rights reserved.
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NZIPP UPDATE
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NZIPP President, Ollie Dale, provides insight into what’s happening behind the scenes of NZIPP.
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I DREAM OF HORSES
BREAKING ART
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THE GIFT OF PHOTOGRAPHIC MEMORIES
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NEW YEAR HONOURS
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BOKEHRAMA Learn all about creating Bokeh Panoramas with Justin Aitken, then enter our photography challenge and be in to win some great prizes.
NZIPP CALENDAR An overview of events, activities, dates and more on what's happening in and around the NZIPP.
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EXHIBITIONS Check out some of the great photography exhibitions on around the country.
We speak with New Plymouth photographer and gallery owner Fay Looney, New Zealand New Years Honours Award about her award. 48
NZIPP REGIONAL EVENTS Guest speakers, on location shoots, social gatherings and more ... a great line up of events happeing across NZ over the next two months.
Emma MacDonald shares her experiences and moments as a Heartfelt volunteer.
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NZIPP EVENTS An overview of NZIPP events, exhibitions, and other activities, happening around the country.
Jason Naylor talks us through the his project that resulted in a fantastic series of podcasts with creatives across NZ.
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PHOTOGRAPHIC CHALLENGE BOKEHRAMA Photographic Challenge, kindly sponsored by Queensberry.
Esther Bunning, NZIPP Grand Master of Photography, talks of her recent experiences and love of horses.
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NZIPP SPONSORS A huge thanks to all of our sponsors who continue to provide such great support to NZIPP, photographers and photography in NZ.
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Ollie Dale F.NZIPP I, NZIPP President
It’s about now that Happy New Year is obsolete as a greeting, yet with production lead times I write this and it’s still mid-January, so you can all forgive me for that one! Another year is underway and we all look forward to the potential it brings. Summer always brings a new lease on life with summer holidays aligning with New Year resolutions, meaning February is usually a month of quiet excitement about new things. Then March hits and it’s all about end-of-year tax, seemingly placed to keep your feet firmly embedded in reality. Well, our reality this year is that we had twice as many people join the NZIPP in 2018 as joined in 2017. We’re sitting comfortably around the 350 mark, which is a great start…but, “we” need to keep going. That’s an all of us “we”. The Board is excited to implement some changes we’ve been discussing around the structure of membership, as well as cementing in stone (or at least HTML code) the complete Member Benefits list. What do you get as a member? This list will spell it all out. There’ll be spot checks, so when it comes out you’d better learn it by heart! I’ve been invited to join the AIPP in a strategic planning session in early March. John Swainston, their President, has invited me to “convene on the evening of March 1st, have a day’s training in Directors’ Duties and Governance on Saturday March 2nd, and then a full day of Strategic Planning on Sunday March 3rd.” AU/NZ Corporate law is near identical when governance is involved, but the AIPP’s intentions are for even wider consideration of photographic industry. It was also resolved that I should make contact with the
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Presidents of as many equivalent bodies internationally that had similar objectives and structures to ensure that our March deliberations would be informed by world practice, trends, issues, problems and opportunities, by getting updates on their own directions and issues, ahead of the meeting. “We will also share the output of any directional actions with our global professional association colleagues and hope that, like the World Photographic Cup, this may lead to a better level of exchange between the various Associations.” Bravo, Australia! It’s great that you are thinking strategically and logically and looking outwards instead of just inwards. I’m honoured to take part and I’m excited about what this type of approach can bring to both our futures. Our biggest event this year will no doubt be ExposurePro in Wellington in June. The changes we’re implementing promise to expand the event into a fantastic place of learning and socialising, and with the Iris Awards being in front of more public eyes than ever before we hope to build on the momentum of the last few years to get the NZIPP brand out in front of people. Speaking of which, Dave Clark Design, an agency in Auckland with clients such as ANZ and the All Blacks (you really should check our their website!) has offered to propose a fresh new look to the NZIPP brand as a community-based project, at no cost to us. I’ve already seen their first round of designs and I’m super excited... watch this space! Thank you to all the volunteers who help make the NZIPP tick along - without you we’d be nothing. If you’re not a volunteer and want to be, give me a call!
not a member of the nzipp yet?
new zealand institute of professional photography w. e. f. i.
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join today!
Image © Karolina Stus PRO REPORT NZIPP MAGA ZINE |
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EARLY BIRD TICKETS ON SALE FRIDAY 01 FEBruary - FRIDAY 01 MARCH 2019
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I DREAM OF HORSES Text and Images By Esther Bunning NZIPP G.Master of Photog.
mojo
noun
mo.jo | \ ’mō-(,)jō
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plural mojoes or mojos
Definition of mojo : a magic spell, hex, or charm
broadly : magical power // works his mojo on the tennis court // The team has lost its mojo.
Mojo, passion - call it whatever works for you - is a funny thing isn’t it. I find it elusive and it comes and goes. Off the back of publishing my ‘Children of Aotearoa’ book project at the end of 2017, and shooting portraits in general, I needed a bit of a personal wind change. And I’ve always loved horses. They don’t care what they look like, or whether their bum looks big. And did I mention they’re beautiful? And they fit with a more fluid way of shooting, which appealed. I was tired of directing. Of organising. Of having to make people look good. (And this says more about where I’m at rather than the lovely people i work with, I should note). With horses, I can be the loose, organic shooter that prefer to be. And what could be better than photographing beautiful horses in the wild..? As a girl, the desert road was a favourite travel route for family road trips. Nose against the window glass, I strained my eyes desperate for a glimpse of the wild horses…I never, ever saw one. For this horse crazy girl, it would have been the stuff of dreams!
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Dreams can have a funny way of coming true, or at the very least bearing a resemblance. Fast forward 40 odd years and the dream becomes a reality. Pinch me someone. Nothing prepared me for seeing these beautiful animals in the wild. However, thanks to a combination of being in the right place at the right time, and Ollie Dale working his magic in getting me in on the ground - literally - for the KHH muster in June 2018, I was incredibly fortunate to spend an entire day photographing these beautiful animals in their own terrain, just prior to the muster. With [weather] forecast watching the week prior, it was shaping up to be fine but frosty, so I was keeping all digits crossed as blue sky days are my favourite conditions for photographing. I’ll admit though, the thought of extreme cold and potentially dire conditions was dampening my excitement a tad June in Waiouru! Thankfully my sister organised for me the perfect clothing to combat the cold from the
outdoor clothing company Jack Wolfskin, and coupled with a pair of toe warmers (necessary!) I can honestly say I didn’t feel the cold once. Being dressed superbly certainly helps! I swear I must have had about 6 layers on, and it worked!
"Nothing prepared me for seeing these beautiful animals in the wild..."
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Day ONE, it was just out of the main army compound, before first light, when Terry,who spent the day shooting video (click this link to view the video), myself, Kim from KHH, and our lovely army guide Eric, caught our first glimpse of a horse. We slowed to a crawl as a horse meandered across the road in front of our vehicle then disappeared into the darkness at the side of the road. Was this really an indication of how close we could actually get? Dawn saw us high on a trig ridge. Now, I’m not a landscape photographer and would never pretend for a minute that I know what I’m doing when faced with such spectacular views, but this was something truly magnificent. Below us, the beautiful Argo valley was covered in a sea of fog. And the horses! I struggle even now, months later, to articulate how incredibly breathtaking it was to see them in their terrain. We managed to get so close to some of them, far closer than I had expected. Overall, they were curious and trusting. On a hilltop surrounded
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Our New Website
We made something we thought you'd like Summer's been great, and we thought it was the perfect time to share something with the community. If you've got some time feel free to make an account and let us know what you think of the new website! There's also some great articles up on the site too. Our new home for the creative community of New Zealand.
EXPLORE THE NEW WEBSITE
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by beautiful views of Mt Taranaki and the Central Plateau mountains, with not a cloud in the sky, we photographed & filmed the family unit of ‘Admiral’ (the old stallion that Kelly Wilson received from the June muster). They were so patient, posing graciously as we followed them quietly along a ridge for over an hour. One of my favourite lens to use in sunshine is my little 50m Lensbaby, for it’s beautiful abstraction, and I couldn’t believe that I actually got close enough to use this. We spent the day horse searching, deep in army territory. It’s hard to describe literally chasing horses we’re on high alert around every corner, eye’s peeled watching the landscape. A black stallion and his stunning chestnut mares with their blonde manes and tails, and striking foals, was a highlight of the day. He grinned at me from afar (or threw me a warning!) and I could have photographed them for hours as they were beautifully sunlit, almost hiding in the tussock.
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I was fortunate to have borrowed the 200-500mm, f5.6 zoom lens from Nikon, and while it required tripod use (and I’m so not a tripod chick) the results were so worth the effort in the field; the images were gorgeous in the backlit tussock.
"...we're on high alert around every corner, eyes peeled watching the landscape."
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Day TWO, a dawn start from the army barracks. I was told the two things the army does really well is heat and food. True! My small room was actually hot. I was completely over dressed for any of the indoor facilities. Of course it was the to and from the officers mess, etc., that it was bone chilling cold! And food, did I mention the food!? Frost - like I’d never experienced before. Within a convoy of vehicles, we made our way into the Argo Valley where the horses were to be mustered. We waited in a hideout on a hill overlooking the yards. Catching my breath recognising various family units, I was totally unprepared for how poignant it was seeing horses from the previous day being mustered in. Just 24 hours earlier they’d been grazing on idyllic ridges, now, their lives were about to change forever. Later in the afternoon, we heard the sound of the helicopters again on the ridge above us, and then, a herd of horses appeared - galloping across the ridge, first one way and then the other. They were determined not to be directed down the hillside…and despite the best efforts of the helicopters, this herd got away to spend another year in the wild. With our hearts in our throats, we quietly cheered them on.
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"...the whole experience seemed spiritual, and to be high on a range as the sun comes up, in this breathtaking corner of the world is worth the experince alone." Overall, the team of people who came together to muster these horses were compassionate, kind and gentle souls. From the incredible skill of the pilots and their gentle direction, through to the DOC staff and the vets, the musterers, KHH, and army‌a diverse team of people with the welfare of these beautiful animals first and foremost in their minds. I was hugely impressed with the way they all worked together. Fast forward to November 2018, and I was fortunate be included in the Kaimanawa Heritage Horses ranges photography trip. This highly sought after experience sells out almost instantly when advertised, and I can see why! Fellow NZIPP'ers, Adam Buckle and Helen Joy were on the trip also, for the second year in a row. On the Thursday we visited Kaimanawa horse trainer Tommy Waara, who lives in another world at his stunning valley property in Raetihi.
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The second day we all set our alarms for 3am for a dawn start in the ranges. Once again the whole experience seemed spiritual, and to be high on a ridge top as the sun comes up, in this breathtaking corner of the world is worth the experience alone. And the horses. Of course they were out there the whole time, as spotted as a tiny dot on the hillside on my computer when I was going through the photographs. And to think we spent the rest of day searching for them! There’s a metaphor for life right there…and while photographically speaking, I'd rather be sitting quietly on a hillside surrounded by shoulder high tussock, quietly watching them - rather than lining up with a group of photographers all with tripods to capture the same shot - it was still an incredible experience, enormous fun, and one I’d do again in a heartbeat. I had the new Nikon Z7 mirrorless with me on this trip. This camera is incredible, and a game changer, and makes everything so easy! If you’re keen to try multiple exposure for example, the live view of positioning, even with the Lensbaby, is phenomonal (seriously, who knew multiple exposure could be so simple? And as I needed something a little more portable, instead of the 500m lens, I took the 28-300mm f3.5-5.6 lens this time around, which was perfect for jumping out of a vehicle on the run. These trips, photographing horses, have been undoubtedly highlights of my life. And it’s given me new opportunities, and I’m now enjoying photographing domesticated Kaimanawa horses as an extension to the series. And did I mention how out of my comfort zone it has all been? Life has a funny way of making us open our eyes to new experiences. Working with Kaimanawa Heritage Horses has been so enriching, and both the horses, the landscape, and the people who share the love of them, truly extraordinary. Follow Esthers work: www.theartfulfilly.com instagram: @theartfulfilly
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S IRI AWARDS bo o k
c o mme rc i a l
d o c u me nt ary
c reat i ve
f a mi l y
l a nd s c a pe
i l l us t rat i v e
nat ure
po rt rai t o pe n
w e dd i n g i n-c a m e r a art i st ry
po rt rai t i n-c a m e r a art i st ry
t rave l
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w e dd i n g o pe n
Online Entry Registrations Open - 29 April 2019 Online entry registrations close - 03 June 2019 Print/book delivery deadline - 17 june 2019
S IRI AWARDS call for entries out
February 2019
Live Print judging THURSDAY 20 - SATURDAY 22 June 2019 ACADEMY GALLERIES, WELLINGTON
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CURIOSITY
Text and Images By Jason Naylor, NZIPP G.Master of Photog.
As I prepared for my Infocus presentation – 3 years ago now – I realised that I'd reached a particular place in my business: I was paying the bills and supporting the family; and was feeling extremely fulfilled doing client work photographing weddings. I was creatively satisfied. I'd broken that starving artist myth. It could be done. Was I alone? Was this normal? Did anyone else feel this way? As with many things in life, I was curious: how do other artists do it? Painters. Illustrators. Sculptors. Writers. How do they balance making art with making money?
Right: Jordan Rondel - The Caker
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CONNECTING THE DOTS 18 months later, this idea was still gnawing away in my subconscious. 18 months is a long enough time to have forgotten about most dreams and ideas, but I certainly hadn't. I was more curious than ever. As I drove my Kombi to a wedding, I was listening to a podcast of someone converting an old-fashioned ice cream truck, and the ideas converged in my head: I had an idea for a podcast, and I had a spare Kombi not getting much use in my garage. If someone can create and sell ice cream from the back of a truck, surely I can use my Kombi to travel and record podcasts?!? The title was inspired by the best TV to ever grace our screens (and the last TV series I actually watched from start to end): Breaking Bad, where the good stuff is created in the back of the camper. And so the podcast was born. Breaking Art – The Alchemy of Creativity and Commerce: Making Art vs Making Money.
FEEL THE FEAR AND DO IT ANYWAY I hadn't produced a podcast before – I'd never even recorded my voice. I'd never interviewed a single person – audio or written. I knew very little about the NZ art scene – but what better way to start exploring! Real growth comes from pushing aside your boundaries, stepping outside your comfort zone. What does anyone do to get traction with a new project? They reach out to friends and contacts. I'd been fortunate enough to speak alongside Hayley King (Flox) and Sofia Minson at a creative conference. I met James Russell and Rui Peng at a craft fair. I was already friends with Si Moore and Paul Alsop, and many friends spoke fondly of Elliot Alexander (Endemic World). I spotted Greg Straight's work, admired Jordan Rondel's business (The Caker), was referred to Max Patte, and that became my first road trip – my first season of Breaking Art: The Podcast. With a couple of microphones and a recording device, I hit the road and spent time with each artist. In my attempt to connect quickly with each guest, we traveled somewhere meaningful: James Russell took me to the Ōtuataua Stonefields (where he walks with his family), and Elliot took me to the Westhaven Marina (he's a keen sailor). Hayley King and Jordan
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Jason Naylor in his Kombi van
"Real growth comes from pushing aside your boundaries, stepping outside your comfort zone."
Rondel run busy lives, so we parked in their carparks off Karangahape Road. Rui Peng is based in school grounds in Mt Roskill, and Paul Alsop loves the ocean. LEARNINGS Each guest has a remarkably different story. No two artists follow the same path – always gratifying to hear – and every guest has very different views of balancing art and money. Some are all business, some are all art, some are barely making a living, and some are thriving and supporting others in theirs.
But ALL share some common threads: underlying ideas that connect every creative. The hustle is real, and your creativity is so valuable in other areas than just your artistic skill. When you apply your creativity to your marketing, selling, and your entire business, it will thrive. Stop trying to be 'a creative', and be creative. Every single artist turns up every single day. As Twyla Tharp wrote: "Creativity is a habit, and the best creativity is a result of good work habits." Whether it's having a retail store that forces you to open the doors,
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or converting your living room into your studio, every single artist has made a habit of turning up. Every day. Whenever I launch a new project, and don't see the immediate traction I might have hoped for, these interviews are there to remind myself there's no overnight success stories. Some of these artists are barely making a living, and those that are, have been working hard for years. The quickest 'overnight success' I've observed is 7 years, and many are 12-14 years into their journey. Were you on this journey 14 years ago? Stick at it. Whether it's support in getting through a rough period, support in doing the financial paperwork, support in caring for the family to give you creative time, or support in having someone to brainstorm and discuss creative ideas – every single artist thus far has spoken of not doing this alone. Your support network – personal or business – is vital to your success. If you want to make one change: invest in support. ONWARDS My list of NZ creatives just keeps growing longer and longer, and my desire to meet and discover more of the New Zealand art scene has me itching for another road trip. For now, I'm focused on the Wellington region, but who knows where I will explore next! Leonardo Da Vinci, renowned as a renaissance painter, but also an architect, sculptor, inventor, draftsman, and engineer (and a thought leader and intellectual pioneer of his time) lived his life by seven principals. One of these principals has become my guiding light. Da Vinci I am not, but having left behind a career in IT, having minimised my full-time photography, and now embarking on a career in education and coaching, working on this podcast serves to remind me of this principal: Curiosity. If you haven't already, head over and listen to Jason's podcasts - Breaking Art: https://breakingart.net/
Top: Greg Straight (artist/illustrator) Second from top: James Russell (writer) Second from the bottom: Paul Aslop (photographer) Bottom: Hayley King, (artist) Next page: Hayley King at work in Haus of Flox PRO REPORT NZIPP MAGA ZINE |
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THE GIFT OF PHOTOGRAPHIC MEMORIES
Text By Emma MacDonald Images courtesy of Heartfelt
A family's darkest hours, a beautiful baby born gently into loving arms, not a whispers breath through her lungs. No mewing first cry. No wiggle of tiny toes. She is sleeping, born still, yet still born. Every moment so precious, every touch imprinted on her parent's souls, every second attempting to contain a lifetime. Quietly, gently, respectfully in the background a click; the shutter closes; capturing a kiss, a caress and a thousand words spoken with a loving glance. The photographer moves, finding another angle, a different way to forever memorialise these precious hours. Creating a tangible memory that will override the numbing grief, a photograph that will never fade.
Right: Baby B
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Murmuring voices, curling protectively around the bed, oozing pride, and love, and awe. Getting closer the lens captures tiny fingers, wisps of hair, eyelashes laying on the softest cheek. Ten fingers, ten toes, Dad's wonky earlobe and Mum's button nose. The softest of skin, stroked, nuzzled, savoured, kissed. A tears, so many tears. Tears of grief, of sorrow, of loss, and of broken dreams. A gift given whenever it's needed, wherever it is needed and for as long as it is needed. A gift given freely, with compassion, with love, with dignity. A gift with immeasureable worth. Heartfelt. Heartfelt is a charity, founded in Australia in 2010 by Melborne photorapher and current President Gavin Blue, alongside a handful of committed photographers. Since 2010, Heartfelt has grown into an international organisation with over 300 volunteer professional
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photographers dedicated to giving the gift of photographic memories to families that have experienced stillbirths, premature, and critically ill infants and children. Heartfelt is dedicated to providing this gift to families in a caring, compassionalte and heartfelt manner. Heartfelt started here in New Zealand in 2014, and to date we have provided photographic services to over 1000 families in need. I have been a member of Heartfelt since September 2014, a representative since June 2015, and recently accepted the role of Vice President. The passion I have for this incredible organisation grows with every session I attend and coordinate. My motivation to join started after I "fell" into it on the internet one night. I stumbled from one blog to another, and somehow came across the story of a family whose son had lived for only 19 minutes. The parents shared their most heart breaking photos; 19 minutes filled with love, as the family gathered for the most bittersweet of introductions, and goodbyes; 19 minutes of pain, but also joy, and in every photo love was so evident it was almost tangible.
The photographs resonated with me, they became an undercurrent to my upskilling. I found Heartfelt. As an emotional human, who has been known to cry at advertisements on TV, I was unsure if I'd ever be able to hold myself together to do the role effectively, and whether I would cope. I talked with other Heartfelt members and after much hesitation and soul searching, I sent off my application. Every session is different, there is no correct way to capture the memories, but our session aims are guided by four main principles. Capturing the interactions; capturing all the information so parents can always see their baby; capturing the details, and ensuring there are images that are gentle and nonconfrontational so they can be shared with family. I feel honourd to be with and alongside families for waht is often the most devastating time of their lives, capturing the love and raw emotion, and recording precious moments. Whilst all the families and babies I have photographed resonated with me, it is the beautiful, powerful and healthy way that families grieve that sticks with me.
I have been in rooms filled with family members singing their little ones to the other side, tears streaming down their faces, but with a loving smile on their faces. Other families are quieter in their grief, but their love is conveyed through loving touches and gentle caresses. It is okay to cry. Sometimes I shed tears alongside the family, other times it's not until I'm sitting back in my car reflecting on the session, or as I sit quietly editing and I linger on the beautiful details. Sometimes, the gratitude from the families causes me to tear up, as they reach out, taking the time amid their grief to thank us for being there. We have a supportive community and space to debrief with each other, to share moments that stopped us in our tracks, or touched us. We learn alongside each other editing techniques, lighting techniques, and tricks that make our role easier. As awarenice of our service has increased, so too has our team of talented, compassionate and incredible members. But sadly, we are very busy and are always looking for more members who have the skill and heart for this work. This work is not for everyone and
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it might not be for you, but you may know someone with the skill who has the compassion and grace needed for the circumstances families face. You may have thought about joining, expecially if you've seen the pleas to get a session covered, when we don't have a photographer available or in the locality. If your reservations are regarding your own strength and ability to cope, reach out to a member and chat. Whilst you are usually shooting the sessions alone there is an army of Heartfelt photographers behind you. If your reservations are related to your photography, practice, practice, practice. Shoot in tricky lighting conditions (hospital lighting can be very unforgiving). More importantly though, have faith in your ability. Joining Heartfelt and being able to give tangible memories to families is one of the most humbling and special experiences you will have. You can find out more about Heartfelt at https://www. heartfelt.org.au/ on our facebook page https://www. facebook.com/Heartfelt.NewZealand/ or by calling us on 0800 058 3768. "Thank you to the families that agreed to share these images."
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HELP OTHERS achieve
Through guidance, structure, direction, accreditation is there to help others achieve success within their business and photographic practice.
HELP OTHERS grow
By supporting our members through the accreditation process brings personal and professional growth so they can be the best they can in their business.
We are looking for new members to join the NZIPP Accreditation Team. Be part of shaping the achievement and growth of our members, through the development and implementation of the NZIPP accreditation programme.
For enquiries and to register your interest email: info@nzipp.org.nz
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Aitutaki Church, Fay Looney
NEW YEAR HONOURS AN INTERVIEW WITH FAY LOONEY Images By Fay Looney
In January, I had the pleasure of conducting an interview with Fay Looney, NZIPP President in and recipient of the Member of New Zealand Order of Merit Award, for services to the arts, in particular her contribution to photography in New Zealand. Who is Fay Looney? I am in my 80th year, I’m a mother, grandmother, great grandmother and a sister, that is the most important fact. I am very fortunate to have been supported by Harry, my husband, throughout my career, and it’s been quite a selfish career really, as I travelled internationally quite frequently in my mid forties. However, that is tempered by the many journeys we did together throughout New Zealand, especially in the last few years while shooting for my books.
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We were dairy farmers and it was a life I loved. I'm still in the same house I have lived in for 60 years, with my dog called Ollie, who I talk to a lot! I'm reasonably computer savvy and glad to be able to participate in this ever-changing world of technology, though I’m not sure how some people my age cope. I am rich in memories. Jay Maisel taught me to always carry my camera, so I do and I often thank him for encouraging that discipline. When did you first learn about being nominated for a New Year Honours Award and what was your reaction? I received the notice mid September and had to keep it a secret until the 31st December. I had no idea who had nominated me or why, however now I can talk about it I am flabbergasted at the compliments
My Front Paddock, Fay Looney
and genuine pleasure many from right across the world have expressed to me. I even had an email from the past director of the Len Lye Gallery who is now in Europe, phone calls from people I haven’t seen for many years, plus many messages from my photographer family. The power of Facebook has really spread the word. What have been your thoughts around why you were nominated for, and subsequently received the award? Well, definitely not for being the best photographer even in Taranaki, I believe its a nod to my passion for promoting local art. I restarted the Oakura Arts Trail back in 2011, which is now an annual feature of The Taranaki Garden Festival. We have glass artists, photographers, contemporary artists and jewellers, the annual event attracts hundreds of visits to our studios and work places.
My studio, on our property, underwent a change in 2012 as I saw the potential in marketing the lovely studio space for longer periods of time. So I invited a couple of local artists to exhibit their work at no cost . We launched at the following garden festival with a party, inviting guests to “My Front Paddock” subsequently it has taken me to the place I find myself now. Reflecting on the past few weeks, how did it feel and what has it meant to receive the Member of the New Zealand Order of Merit award (for services to the arts photography)? Pretty surreal! Many have said to me that it’s very special for the arts community to be recognised, and have been incredibly flattered by the positive messages and congratulations I have received.
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Bombproof Pony, Fay Looney
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What started you in a career as a photographer? My Mother. She found an advertisement in our local paper for a six week sales job in school photography for an Australian firm called Fotek. Subsequently, I was employed to sell their product. This moved into an offer to become one of their photographers where I learnt on the road really, after a two week course in Sydney. I started out with a car full of gear, a camera glued on f8 /125th sec, and hit the road. My first job was up the Whanganui River Road, which in those days was a pretty wild drive on gravel in a little Fiat. I had a strict shooting programme: set up lights and measure the distance to subject with a piece of string; however, the eight children who were at the school had other ideas, they wanted their photo shot in the school dingy on the river! There started my first lesson in flexibility on the job. It wasn’t long before a few friends would ask me to shoot family images for them and like many before me I started working for nothing! The good thing was I loved it and started to understand light. You have had a long and illustrious association with the NZIPP, what has this meant to you as a photographer and a person? Education and wonderful friends. I was in the association (then known as the NZ Professional Photographers Association) at a great time in my life. I battled to get in, James White turning me away on my first application, but a couple of years later I met Eddie Gibb on a bus in Melbourne. We were both going to a seminar there; he was the NZIPP president at the time; and me, somebody wanting to learn from others. Also at that seminar were two people who became and have always been very important to my career, Nick Servian and his wife Evelyn. Nick has always been and still is my technical support and go to person for everything photographic. Eddie suggested I submit to the annual print judging that year, which I did and came away with two silver awards. I was in heaven and the rest, as they say, is history. I would never have had the career I have enjoyed without that bus ride I am sure. Tell us about some of your greatest/proudest achievements? Becoming the first woman President of the Association is way up there, it was a very male dominated group at that time, however, I was always made to feel equal. I love competing and to be announced Photographer of the year in 1994, when I was president, was gobsmacking especially with a print that broke all the rules apparently, My first book will always be very special I was given a free hand to edit and deliver the text plus they paid me! First Light Last Light became my pathway to publishing five more times. I loved every moment of the journey. What have been some of the pivotal moments/events in your photography career? After 57 years of marriage I suddenly lost my husband Harry and had to adjust to a huge completely unexpected change in my life once i came up for air I took a hard look at my purpose built studio on the farm and decided I had an opportunity to grow the gallery and invite more artists now we have 23 local artists and with a new City based gallery (Koru on Devon) offered to us by a generous landowner we have grown into a diverse group of contemporary artists glassmakers, sculptors, photographers, ceramic artists with regular exhibitions of our own work plus that of invited artists who hire gallery space thus allowing us to continue on a not for profit base, albeit they now pay a small commission into our promotion budget.The gallery is full time now open here every weekend and in town 5 days a week, I am mother and I have a fabulous curator we don’t have committee meetings we have drinks and Pizza!! We have regular exhibitions and our sales for the past year have exceeded expectations so we are still a free space to our original group of 23. Other artists are invited they pay a slightly higher commission. Wairoa, Fay Looney
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Jack Marsden, Driftwood Artist, Fay Looney
What three qualities do you feel have been the most important in helping sustain you in your photographic practice over the years?
If you were to give some words of advice to someone starting out in a photography business, what would you say to them?
Always being the undisputed owner of my work and defending those rights when necessary and winning. Never being afraid to ask for help. Images that live in my mind.
Early in my career I attended an Arnold Newman seminar in the States I asked him for one piece of advice this is it”There are no rules in photography only foolish people who make them” unquote. That has always been my mantra and the reason for me doing it my way.
You have inspired/influenced many photographers yourself, but who has inspired and/or influenced you the most during your own career? I’m not so sure I have ever influenced anyones work, but thank you for the compliment. The Geddes team had a huge influence on my photographic career and my time in the Institute, their support was legendary in the Institute, their friendship priceless and still is. Nick Servian’s ability to see & share his knowledge continues, and to be honest the many of the people I went through the Institute with added to my education and their beautifully crafted images live on. I’m particularly aware and an admirer of Tony Carter; I believe Tony is a world beater documentary artist and I’m really proud to show his work occasionally in the gallery.
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Who will you nominate? NZIPP Honours Awards are a great way to recognise the achievements of those who do extraordinary things for photography in New Zealand and/or the NZIPP organisation itself. 46 |
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NZIPP 2019
HONOURS AWARDS
NZIPP Honorary Fellow (Member or Non-Member) The Institute’s highest Honour, this is awarded sparingly. It is an honour awarded to a person for longstanding and outstanding contribution to the image of professional photography either within the NZIPP, or the community at large. NZIPP Honorary Member (Non-Member) Awarded to a person distinguished in any of the aesthetic, technical, organisational or productive aspects of photography who has been or may be of material assistance to the Institute or the photography profession. NZIPP Gold Award (Member) An honour awarded to a NZIPP member who has given outstanding service to the Institute and its members. Such a person has usually given long, unselfish service at a national level and this service has had an effect for the good of the Institute.
Submit your nomination TODAY! click here Nominations close Nominations Friday 12 Aprilclose 2019 Friday 29 March 2019
NZIPP Life Membership (Member) This award is for an NZIPP member who, within a period of at least a twenty year membership, has actively served and promoted the Institute. Such a member will have probably served in an elected office with some distinction. Silver Spool Award (Member or Non-Member) Awarded to a person who has made a contribution to the Institute but who, in normal events, may not necessarily be open to other honours. The award often recognises those who give service, but are not necessarily a member of the Institute. NZIPP Membership Award (Member) For those who have amassed a continual 20 year membership with the NZIPP. Who in your region has not yet been acknowldedged for this? For any enquiries about these awards, contact: info@nzipp.org.nz
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BOKEHRAMA Text and Images By Justin Aitken, F.NZIPP III
A Bokeh Panorama (aka Bokehrama) is basically a technique used to create shallow depth of field in a wide-angle scene. It involves creating multiple images and then using post production to ‘stitch’ the images together, resulting in one final photograph. Essentially, the outcome is similar to that of a large format look, but achieved by using a smaller sensor camera. The result should show your subject well in focus along a thin focal plane, while the rest of the image will show as out of focus areas. Shawn, a good friend of mine from back home in South Africa, is travelling around New Zealand in a campervan for 2 months. He spent two days with me recently, catching some surf at one of my local beach breaks, so I figured he would be the perfect subject for this tutorial.
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1. EQUIPMENT AND SETTINGS
2. THE PHOTOGRAPHY
The two main things you want to think about here are lens choice, and aperture choice!
Start by getting focus on your subject, which you can do in auto focus. I usually break this up into two different photos - I tend to photograph the top half and then bottom half of the person.
LENS – You will get best results from this technique if you use a longer focal length, as it will have a great impact on achieving a shallower depth of field and blurring the background/foreground a lot more, allowing your subject to really stand out and in focus amongst the landscape. For the example in this tutorial I have used an 85mm f/1.4 lens. I also enjoy using my 135mm f/2.0 lens as the compression you achieve from a longer lens helps with this. I have even done this with a 50mm f/1.2 though, which has turned out really cool. Experiment a bit, as it can be a very fun process! APERTURE - To create a shallow depth of field, and one that will be most effective for this technique, you really want an aperture value no smaller than f/2.8. If you can use a wider aperture such as f/1.2 or f/1.4 then definitely do so, as the wider you go, the better.
Once you have done that, switch to manual focus for the rest of the scene so the focal plane stays exactly the same, ie. the focus remains on the subject, and the background/foreground remains out of focus – this is very important! Retaining that focus is essential to ensure the background/foreground stays out of focus, so don’t touch or bump your lens focus ring as this will make the task difficult (and even impossible) when it comes to blending the images together. Continue to photograph all the area around your subject in separate parts / frames. I always try capture some of the foreground too, which will really accentuate that ‘wafer-thin’ focal plane. Below you can see all the RAW files that make up my Bokeh Panorama, there are 70 in total!
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Some people use one photograph to frame the subject completely, I personally prefer to break it up and use two, as it just seems to make the subject stand out a bit more in the scene.
It’s also very important to ‘overlap’ parts of the scene (i.e don’t leave any gaps or leave out any information or areas, rather photograph the same areas twice if you need to, which will make for a far easier and better stitch and result.
3. THE STITCHING
Photoshop – Open Photoshop, in the menu area click on File, and then Automate.
There are two ways to do this technique in postproduction, either through Photoshop, or Lightroom. My personal preference is Photoshop, with most of my Bokehroama's done in Photoshop as I find it more reliable; the success rate of a better quality stitch is quite high when compared to Lightroom. Don’t get me wrong, Lightroom can be very good, and handy (as for most of us, our images are already there so it’s quicker to start the process directly from there), but I find Lightroom better when there are less images to stitch. In other words, I find Lightroom struggles when trying to stitch too many photos together, so if you have only a few images use Lightroom, and if not then use Photoshop. The time it takes to create a final stitch will depend on the size and amount of images you are merging. This tutorial covers stitching the Bokehrama in both Photoshop and Lightroom.
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A new window will appear, browse for your RAW images. If you want a quicker stitch it's fine to use JPEGS, but make sure these are high resolution for a higher quality final result.
Ticking ‘Content Aware Fill’ can help with replacing any missing information by using nearby samples. Once you have done this, just sit back and let Photoshop do it’s thing!
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Lightroom – One tip here, is to make any adjustments to your images before stitching them, i.e., apply your preset / adjustments, then sync your images so they are all consistently edited the same.
Once you are hapy with your adjustments, select your multiple images, then in the menu bar click on Photo, followed by Photo Merge, and select Panorama.
Another handy tip is to select “Enable Profile Corrections” under the Lens Corrections panel in the Develop module. This basically eliminates any lens vignetting and allows for a more seamless stitch.
A new window will appear and a preview will start to be created. I often find that the Cylindrical option creates the best stitch, but feel free to experiment with the Spherical and Perspective options. Once the preview has been made, click on Merge.
"I often find that the Cylindrical option creates the best stitch, ..."
The two images above show the effects of selecting Enable Profile Corrections; turned on, the dark vignettes on the around the edges of the image disappear.
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You'll be able to see the merging process in Lightroom at the top left in your progress bar.
Photoshop stitched the image flawlessly in about 12 minutes. Lightroom took about 30 minutes and while the stitch seemed great when looking at it at full screen, on closer inspection and zooming in I saw some flaws, as you can see in the image below
Once completed, a .dng file will be created and saved in Lightroom. It will appear in the same folder, with all the RAW files that make up the panorama..
SO WHICH IS BEST, PHOTOSHOP OR LIGHTROOM? For this tutorial example, I tried both Photoshop and Lightroom when creating this tutorial, as I wanted to compare two things. First, was the time it took to stitch, and second, the overall stitch result.
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The cool thing about Lightroom though, is you can merge your images, and then still edit a .dng file and apply your presets etc quite easily once it’s all merged. But no matter which option you choose, definitely have some patience with this technique – it will generate a really large final image file and it will still need a decent amount of computer power to work nicely. So once you’ve started the merge / stitch process, go and make yourself a coffee and wait for Photoshop or Lightroom to work it’s magic. Once completed, have some fun with the cropping. I often find that a square crop can be quite impactful, likewise a simple 3:2 ratio works well too. There are no rules! In regards composition, personally, I always enjoy having my subject just slightly off centre. The final result of blending all 70 images together can be seen on the following two pages. Have fun, and enjoy! Check out the video from this tutorial and another example he produced a couple of months ago, by subscribing to Justin's YouTube channeI: https://youtu.be/uUE1ri_NE1o
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Now you've had the chance to learn about the BOKEHRAMA technique from Justin Aitken (if you didn't already know about it), we'd like to set you a little challenge - have a play with the Bokehrama technique then submit your image into this month's photographic challenge competition! A special thank you to Justin who will also be judging the competition. COMPETITION ENTRY The Bokehrama photographic challenge competition is open to any photographer (professional or non-professional), 18 years of age or older, and open for online submissions only (digital files only are required). Your entry may be of any subject, but must use the Bokehrama technique. Entry is limited to one (1) image submission per entrant. Entry is free
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SPECIAL THANKS TO THE BOKEHRAMA COMPETITION PRIZE SPONSOR
FIRST PRIZE An A1 (33 x 23 inch) frame SECOND PRIZE Two 11 x 14 inch loose matted prints THIRD PRIZE One 11 x 14 inch fine art print
TO ENTER
NOTE
1. Complete the online entry submission form:
Ensure you read and understand all terms and conditions of entry provided on the online entry submission form.
https://goo.gl/forms/N4npYaVT4bwx1giQ2 2. Submit your digital file - information provided in the online entry submission form.
Copyright of all images submitted remains with the respective entrant.
Digital files submitted must be: • 25 cm along the longest edge • No more than 3000 pixels on the longest side • RGB colour mode (not greyscale) • JPEG setting 8 Baseline (Standard) • No larger than 5 MB • Include your name, phone and email in digital file the Metadata 3. Entries close 6pm, Wednesday, 27 February 2019
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Image Š Brooke Shaden
The NZIPP Board met in Auckland in June 2018 to plan the future of the NZIPP conference. Our biggest goal was to bring more in-depth educational content to the programme. The NZIPP Event Team have been subsequently working to deliver this change and are really excited about the new direction, starting with the new name - Ilford Exposure is the name that will be used for all public/enthusiast events and activities, Ilford ExposurePRO covers all events targeting and suitable for professional photographers. So, what you can expect in 2019? With the move of the Nikon Iris Awards to the NZ Academy Galleries, we have the entirety of Shed 6 to use for Ilford ExposurePRO. This means we'll be able to have more exhibitors and open up for more registrations to the conference. The 2019 event will incorporate a
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shooting stage down in the trade display area, where you can try out gear and watch mini-demonstrations. This year, you’ll also be able to buy gear at the trade show! We are working with a retailer to have gear available for purchase, with finance options if you need them. We are super excited about the addition of an event app that will make it easier for you to find out what’s happening, when and where - giving you all the information you'll need about Ilford ExposurePRO event in one, easy to find, place, just a click away on your mobile phone. Our chosen charity for 2019 is Ronald MacDonald House, Wellington, and we have a number of exciting events to support this charity through both the Ilford Exposure public open day and Ilford ExposurePRO. We want the public to know about NZIPP. We will be fronting on an NZIPP stand in Shed 6 with information available on our fantastic members and why they should choose an NZIPP Photographer. Accredited Professional Photographers are invited to submit one image which will be available for a print sale in Shed 6. All proceeds from the sale will go to Ronald MacDonald House, Wellington. Print sale image submissions can be made at: https://goo.gl/forms/XLM2Sg1gWWgpOM1o1 The entire conference format has changed! We want you to have flexibility in choosing what speaker event you attend. Our programme is designed to maximise this and offer a variety of speakers at any given time. Our speakers know you want to be educated and they will be delivering this to you in 2019! Trade time has also been added into the programme, so you can have a chat with our wonderful exhibitors or watch one of the mini-sessions happening in the trade show and learn more about the gear available to help you with your photography business.
Keynote presenter - Brooke Shaden
We’ve done away with workshops outside of the conference programme. The Ilford ExposurePRO conference will deliver you all the workshop goodness you need, and you won’t have to choose between the Nikon Iris Awards, Ilford ExposurePRO or a workshop. The Public Open day will be held on Saturday 22nd June, in and about Shed 6. We’ll have loads of information on NZIPP, presentations from NZIPP members and activities aimed at the general public. We are excited to announce Craig Wetjen and Steve Scalone will be bringing Project Street to New Zealand for the first time, and running this during the Public, Ilford Exposure, Open Day. Visit their website here: https://www.projectstreet.com.au/ Again, all proceeds from sales will go to Ronald MacDonald House Wellington. Registrations are open and you can secure your place on this amazing project at www.exposurepro.co.nz.
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Michael Clark- Adventure Sports & Commercial Photographer
Lauren Bath - Travel Photographer & Professional Instagrammer
Courtney Holmes - Family Photographer & Videographer
Craig Parry- Ocean & Nature Fine Art Photographer
Craig-Turner-Bullock - Pet Portrait Photographer
Eric Ronald - Wedding Photographer
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And finally, the gala dinner is being held in Shed 6 for 2019! We can’t wait to celebrate in this venue and look forward to seeing you all there. DIARY THESE DATES NOW! Earlybird Ticket Sales Friday 1 February to Friday 2 March 2019 Nikon Iris Awards Thursday 20 to Saturday 22 June 2019 NZ Academy Galleries, 1 Queens Wharf, Wellington Ilford Exposure Public Open Day Saturday 22 June 2019 Shed 6, Queens Wharf, Wellington Ilford ExposurePRO Conference Sunday 23 to Monday 24 June 2019
Shed 6 and NZ Academy Galleries Queens Wharf, Wellington Nikon Iris Awards Gala Dinner Monday 24 June 2019 Shed 6, Queens Wharf, Wellington
2 019 M A J O R S P O N S O R S
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Accreditation Coordinator - Shar Devine F.NZIPP NZIPP Accredited Professional Photographers
The New Zealand Institute of Professional Photography has always been committed to and passionate about setting and encouraging minimum standards within the photographic profession of New Zealand. As such, it runs the NZIPP Accreditation Programme that recognises best professional practice in both business and photographic standards. This programme offers members the opportunity to be supported in their growth and development towards meeting set standards and becoming an NZIPP Accredited Professional Photographer. In todays market, we feel it is even more important for photographers to become accredited, as this recognition reflects an achieved level of business and photographic practice within the profession. Continued membership with NZIPP also helps support the maintenance of these levels, through professional development opportunities such as regional events, the annual Iris Awards, and the national conference.
"The strongest path to assured success is together"
2019 ACCREDITATION ROUNDS February 2019 May 2019 August 2019 November 2019
For information or questions please email: nzipp.accreditation@gmail.com
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new zealand institute of professional photography w. e. f. i.
www.nzipp.org.nz info@nzipp.org.nz @NZIPP nzipp_national
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elcome 2019 and all you have to offer our photographic community! We are looking forward to a year filled with lots of social occasions and networking for our members along with lots of learning and professional support. First up this year we are having a BBQ with the Birks. This will be a social event for the whole family to be held on Tuesday 12 February in Putaruru. This is a kid friendly evening where they can spend some time together while the adults catch up. Don't be afraid if you haven't met us yet - we are a lovely bunch and will be only too happy to spend some time with you. In March, we are planning towards a beach shoot at Mount Maunganui with some of our friends in the photographic industry. Keep an eye out in your emails and on Facebook for more details soon.
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A big thank you to all of those convicts and rogues that made it along to our Christmas Party in downtown Tauranga at the end of last year. Alana Dresner sure knows how to plan a party and a great night was had by all! Congratulations to Tracey Scott who took out the prize as our Regional Image Review winner for 2018. Tracey had some of the most stunning images and her win was well deserved! A few of her amazing images are featured to the right. We were also lucky to have her working "behind the scenes" taking images for us for the Christmas Party. Marama Shearer Waikato/Bay of Plenty Regional Representative
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Image © Stephen Tilley
We have heaps of cool stuff in store for Wellington photographers in 2019! The committee met late last year and brainstormed an interesting and varied programme for the upcoming year. We have more ideas than we have meetings available, which is great because if any of our plans don’t pan out for whatever reason, we have more waiting in the wings. We plan to bring you not only guest speakers in the wedding and portrait fields that many of us work in, but also a wildlife/adventure photographer (hopefully for our March meeting) and an expert in wet plate photography. After the great reception given to NZIPP President Ollie Dale when he spoke to us in 2018 about incorporating video into our business models, we realised there was an appetite for more education in that area. We’ve had a kind offer from Wellingtonian Jono Tucker to present to us about video using dSLRs, and he will probably run a workshop as well, so there’ll be heaps of opportunity for hands-on learning.
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We will be running our regular annual events such as a mock print judging in the run-up to the Nikon Iris Awards, which is a great chance to get feedback on potential entries, and a 1010-10 evening in November. We’ll also have a post-Iris wrap-up in July to celebrate the (no doubt outstanding) successes of Wellington photographers, and this year we plan to make that evening a bit of a mid-winter party as well. In addition to these monthly events (normally held on the last Tuesday of each month), we’ll be holding a few photo critique evenings, so keep an eye out on Facebook for details of those. They’re small, casual evenings that give you a chance both to hear some feedback on your own work and to practice giving others constructive feedback, which can be a great starting point for anyone who’s interested in becoming a judge one day. It’s also just a nice way to get to know other photographers, as is the monthly coffee catch-up down at the Woolstore, generally held on a Friday morning. To kick off proceedings for 2019, we’re very proud to bring you Auckland fashion photographer Stephen Tilley (www.stephentilley.co.nz). Stephen began his career in London around the turn of the millennium, and is now one of Auckland’s leading photographers. He photographs regularly for Fashion Quarterly and Mindfood Style magazines, and other clients include TV3, Max and Barkers. Stephen will be presenting to us on the evening of Tuesday, February 26, and non-members are welcome to join us. Looking forward to seeing you there! Catherine Cattanach Wellington Regional Representative
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Nathan Wallis, photograph supplied by Nathan, photographer unknown.
The Canterbury/Westland Region has some exciting sessions planned for the next two monthly meetings. Bring your pricing questions in February for a panel discussion “Lightbulb Moments of Price Setting: a panel discussion”. No question is off limits! Discussion will include, mistakes & lessons learned along the way, vulnerability, what things you need to have in place. Then in March, be prepared to work on your mindset! Nathan Wallis, a renowned neuroscience educator will be talking to us about Change your Brain, Change your Life! Nathan is a lively and engaging speaker who uses humor and plain language to make this complex topic burst into life.
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How often do you hear, I just can't get customers... my photos aren't good enough... I'm not as good as everyone else... etc etc etc... What you focus on is what you create. If you say that you can't do something, then you won't be able to. Changing that to “I can't do that...YET” keeps the door open for learning. Nathan will talk to us about changing our mindsets so that we can start achieving the results we want! Ann Worthy-Stephenson Canterbury/Westland Regional Representative
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FEBRUARY FRIDAY 01 FEBRUARY
ILFORD EXPOSURE PRO 2019 Conference Earlybird tickets go on sale.
FRIDAY 01 FEBRUARY
NZIPP HONOURS AWARD NOMINATIONS OPEN Details on page xx for submitting your nomination(s) for 2019 NZIPP Honours Awards.
MONDAY 12 FEBRUARY
MONDAY 18 FEBRUARY
TUESDAY 26 FEBRUARY
WAIKATO/BAY OF PLENTY REGION BBQ with the Birks, a kid friendly social event to kick off the year. Details coming soon! Venue: Putararu Time: 5.30pm RSVP: waikato.nzipp@gmail.com BYO meat, drink and salad to share CANTERBURY/WESTLAND REGION Lightbulb Moments of Price Setting: a panel discussion Venue: TBA, Christchurch Time: 7.00pm NZIPP Members: Free entry Non-Members: $20 WELLINGTON REGION EVENT Presentation by fashion photographer Stephen Tilley. Venue: 35 Sugarload Road, Brooklyn, Wellington Time: 6.00pm (6.30pm start) NZIPP Members: Free entry Non-Members: $30
WEDNESDAY 27 FEBRUARY
BOKEHRAMA CHALLENGE CLOSES 6pm deadline in the Bokehrama Photographic Challenge Competition, sponsored by Queensberry.
LATE FEBRUARY
NIKON IRIS AWARDS CALL FOR ENTRIES RELEASE The 2019 Nikon Iris Awards Call for Entries document to be released.
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EARLYBIRD EXPOSURE PRO Final day to purchase Earlybird tickets to Ilford ExprosurePRO Online: www.nzipp.org.nz NZIPP Members: $495 AIPA/PSNZ/AIPP: $595 Non-Members: $695
DATE TBA
WAIKATO/BAY OF PLENTY REGION On location beach shoot. Venue: Mt Maunganui Time: TBA NZIPP Members: TBA Non-Members: TBA
MONDAY 18 MARCH
CANTERBURY/WESTLAND Neuroscience educator Nathan Wallis - Change your Brain, Change your Life! Venue: TBA, Christchurch Time: TBA NZIPP Members: Free entry Non-Members: $TBA
FRIDAY 29 MARCH
NZIPP HONOURS AWARDS NOMINATIONS CLOSE Get your nominations in for the NZIPP Honours Awards 2019. See pages 46-47 for details.
For updates and new events, check the NZIPP Facebook Page
click here
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POSING NOT POSING Long before smartphones, selfie sticks and one-swipe filters, having your ‘perfect’ picture taken took practice, preparation and plenty of posing. Early cameras and photographic materials required the sitter to be still for many seconds. While this is often given as the reason for a lack of smiles, a more likely reason is that early portrait photography followed the format of traditional portrait painting. In the nineteenth century, props, backdrops, costumes, animals and touch-ups were all used to help create the perfect portrait. Photographs are for sharing and people have always wanted to look their best. The museum’s collection in Posing, Not Posing, seeks to understand the history of portrait photography and how we present and see ourselves. When: From 28 January 2019 Where: Tairawhiti Museum, 10 Stout Street, Gisborne Lloyd Cornish Photographic Studio, Self Portrait
Cost: Free Admission Details: https://tairawhitimuseum.org.nz/exhibition/ posing-not-posing/
UNCANNY COUNTRY In the Victorian colonial psyche New Zealand was often envisaged both as a Utopian escape from industrial Britain and as the mysterious ‘Antipodes’. Eliciting both awe and fear, the New Zealand landscape became a fundamental component in reflecting and defining colonial identity, symbolising settlers’ estrangement from Britain as well as their fears and aspirations to control their new environment.
George Valentine, Cauldron, White Terrace, circa 1898, gelatin silver print, Auckland Art Gallery Toi o Tāmaki, The Ilene and Laurence Dakin Bequest, purchased 1999
The development of photography in New Zealand paralleled the vogue for tourism. The pictorial, experiential and emotive language used in guidebooks, complemented by accompanying photographs, enticing readers into the rugged unknown. The photographs exhibited in Uncanny Country indicate the complex colonial perceptions of the New Zealand landscape: creating a desire to make the unknown familiar through travel, settlement, and image dispersal. When: Until Sunday, 28 April 2019 Where: Auckland Art Gallery, Cnr. Kitchener and Wellesley Streets, Auckland Cost: Free Admission (NZ Residents) Details: https://www.aucklandartgallery.com/whats on/exhibition/uncanny-country
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50 GREATEST PHOTOGRAPHS OF NATIONAL GEOGRAPHIC National Geographic has authorised the reproduction and tour of 50 of the most recognisable and popular photographs the magazine has published in its 120year history; exploring the hidden worlds, secret stories and amazing places on the planet through the most compelling, iconic imagery compiled. The exhibition includes, among the many recognisable images, Steve McCurry’s Afghan Girl and Nick Nichol’s The Touch featuring Jane Goodall. In addition to seeing the enhanced photos as they appeared in the magazine, visitors can hear the stories behind the photos and more about the photographers themselves. For some images, visitors are able to see the ‘near frames’ taken by the photographer: the sequence of images made in the field before and after the published picture. When: 14 December 2018 - 31 March 2019 Where: Waikato Museum, 1 Grantham St, Hamilton Cost: Free Admission Steve McCurry, Afghan Girl 1984.
Details: http://waikatomuseum.co.nz/exhibitions-andevents/view/2145883159/50-greatest-photographs-ofnational-geographic
25 YEARS BEYOND THAMES STREET: A WEEK IN MORRINSVILLE, 1993 Twenty-five years ago, Phil Crawford and Fraser Munro produced a photographic essay of images that depicted 50 scenes of Morrinsville, Crawford’s home town. Aside from one image, all of these photographs were taken in the last week of April in 1993. Things have changed significantly since then, but these images are ageless in that they still reflect the heart of all rural communities: the people. When: 16 January to 10 March 2019 Where: Waikato Museum, 1 Grantham St, Hamilton Jo-Anne Griffin, centre-right and her attendant, Victoria Dauphin, have a last-minute cigarette. Collection of Waikato Museum Te Whare Taonga o Waikato
Cost: Free Admission Details: http://waikatomuseum.co.nz/exhibitions-andevents/view/2145883203/25-years-beyond-thamesstreet-a-week-in-morrinsville-1993
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