NZ CameraTalk To p r o m o t e t h e w i d e r e n j o y m e n t o f p h o t o g r a p h y
T H E O F F I C I A L M A G A Z I N E O F T H E P H OT O G R A P H I C S O C I E T Y O F N E W Z E A L A N D I N C April / May 2018
Editor’s corner PRESIDENT Peter Robertson LPSNZ PO Box 2, Westport 7866 t. 03 789 8745 e: email@example.com
VICE-PRESIDENT Moira Blincoe LPSNZ 16a Burleigh Street, Grafton, Auckland 1023 t. 09 379 7021 e. firstname.lastname@example.org
TREASURER David Knightley PO Box 99470, Newmarket, Auckland 1149 e. email@example.com
SECRETARY Patrice Nilsen 8 Raroa Terrace, Tawa, Wellington 5028 t. 04 232 1565 e. firstname.lastname@example.org
EDITOR Lindsay Stockbridge LPSNZ 14 Poynter Place, Whanganui 4501 t. 06 348 7141 or m. 027 653 0341 e. email@example.com
ADVERTISING & LAYOUT Paul Whitham LPSNZ PSNZ Councillor t. 04 973 3015 or m. 021 644 418 e. firstname.lastname@example.org
CAMERATALK DEADLINE The next CameraTalk deadline is 1 June 2018 Email your contributions to the Editor at his email address. 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.
It’s about time! Time is always an issue, usually because we don’t have enough of it. Our days are full, and some of us struggle to take the camera and forage for images. Having found one or two with potential, we then have to find time to download, catalogue and process them. If we don’t do the post-production work we run the risk that potentially great images will be left in the wash, so to speak. Time is always an issue. Speaking of issues, CameraTalk features among other goodies a celebration of the Tauranga Photographic Society’s first 60 years. They’ve produced a special book, one for each member, with a photograph taken by each of the Society’s current members. The project has taken a huge amount of time and effort; there’s that word ‘time’ again! Congratulations to the Society for having the foresight to produce the book, and to Annette Johnston LPSNZ and Paul Byrne APSNZ ARPS AFIAP who I gather did most of the work. It’s a wonderful way to celebrate 60 years of photography.
Time? Well there’s still time, but not much, to register for this year’s National Convention. Rush to www. naturallydunedin.co.nz and follow the directions to register for what will be a wonderful four days of learning and practising – and having fun. Read about Steve Gosling at www. stevegoslingphotography. co.uk and Joe Cornish at www. joecornishphotographer.com and you won’t want to miss out. Supporting speakers will add to the convention framework, and a choice of 10 field trips will have you and your cameras very active! As I said, there’s still time, but not much!
See you in Dunedin! Lindsay Stockbridge LPSNZ Editor
On the cover Cambodia by Paul Byrne APSNZ ARPS AFIAP
Helping photographers grow Looking back over the many initiatives and improvements of the last two years made by volunteer members, we can’t help but be impressed by the commitment of those members to help us grow. The exceptional conventions hosted by willing clubs, the re-establishment of the New Zealand International Salon, the improvements to our website and communications systems, the continuing development of our Honours Board, Judge Accreditation Panel, the membership database and a host of other systems and services; all designed to improve the Society for the benefit of its members. Of particular note is the work done by Councillor Paul Whitham LPSNZ and Lindsay Stockbridge LPSNZ in expanding our traditional eight-page newsletter, CameraTalk, into a 50-page plus platform for Society, club and member news, where information and images can be laid out before us with a depth and quality that that can be enjoyed to the fullest. The responses to the recent Member Survey are being analysed and collated for presentation in CameraTalk, starting with this issue. Thank you to all members who took the time to give us this feedback and provide us with a baseline of current opinion that will help guide the future decisions of Council. Thanks also to the Society’s officers and councillors for the many, many hours and personal commitment they have given to their portfolio areas as we moved Council’s planning and operations towards a more cohesive sense of purpose in helping photographers grow.
From the President's desk for us. Along with the convention is the opportunity to catch up with our trade partners and sponsors, without whom we would struggle to hold an event like this. Whether you are attending Convention or not, we urge you to support our trade partners and sponsors whenever you have the opportunity. They are deeply knowledgeable about the tools and techniques of our craft and share our mission to help us grow as photographers. Kind regards Peter Robertson LPSNZ President
Finally, as we prepare to attend the 66th National Convention of the Photographic Society of New Zealand, we thank the Dunedin Photographic Society for hosting the convention and the PSNZ Canon National Exhibition. We fully appreciate the many hours of work involved in organising these events. The National Convention is a time for catching up with old friends, meeting new friends, and gaining inspiration for our photography from the top class presenters, workshops and activities that the Convention Organising Committee has assembled
Membership survey observations WE THANK EVERYONE who took part in the survey of members in February. The results from it will be released over several issues of CameraTalk, along with the actions that Council is going to take from the points raised. This article contains some of the high level results along with some observations of the survey results. 470 survey results were recorded and after the removal of duplications we ended up with 452 valid lines to use. Not all of these managed to work their way through to the end, however these did not affect the overall results too significantly. The PSNZ membership database lacks basic demographic information which makes it very difficult to assess how representative those who took part in the survey are of the whole membership. However a check between the length of membership between the survey and the database appears to indicate a fairly strong correlation.
Length of Membership
The majority of you joined to improve your photography Overall 54% of all respondents indicated that they joined with the prime purpose of improving their photography. This was the top reason, across all age ranges, length of membership and genders.
We have a lot of gear Again this will hardly be a surprise but 75.2% of respondents use more than one camera and we have a lot of lenses (with the majority having four or more). What might be surprising is that cellphones are used by 43.9% of the respondents; however it was generally stronger in the third camera stakes.
We plan to buy more Despite already having a lot, 63.5% plan to spend money on their gear in the next year. Lenses were the most popular option on 34.9% with printers next on 10.3%. Based on the answers we can estimate the total spend to be between $1.3 and $2.6 million. People tend to get their information and advice from a wide range of sources, with nothing really dominating, although the internet (65.4%) definitely leads the way, with camera club acquaintances being relied on by 53.3%.
Quite a number make money with photography. Some 30.9% of our members make some form of income from photography.
Our members dabble in a lot of genres While landscape photography was clearly the most popular of the genres (81.3% of respondents), followed by nature, the majority of our members actually dabble in quite a few genres.
Number of genres shot per person
We travel a lot 78.5% of respondents had travelled overseas and 55.8% had travelled in New Zealand in the last twelve months. This would explain why travel photography was ranked third highest in genres on 58.2%.
Printing 46.3% of the respondents own a home printer that they use for printing their images, with inkjets dominating. Of those who printed at home, 66.9% used their printer to print all of their images. Given that most external printing was for competition images it is probably no surprise that 48% used professional print labs. Print kiosks, such as the likes of Harvey Norman, came in at 30.9%, well ahead of camera stores on 12.2%. I would not necessarily read anything into this split as I expect it is strongly linked to the fact that many towns do not have dedicated camera stores anymore.
Satisfaction levels are high Overall satisfaction levels are high, with only two categories dipping below 90%.
Judge Accreditation Programme
Availability of Accredited Judges
Honours Awards system
NZ CameraTalk magazine
NZ Camera book
PSNZ Help Sheets
Most people believe they are getting value from money Only 16.9% of respondents do not believe that they are getting value for money from their membership, and in reading the comments it becomes apparent that it is largely attributed to them not being able to get to the events that we run.
PSNZ Canon Online Results from Round 1, 2018 WEâ€™VE HAD A great start to the year with 126 varied and interesting images submitted. Our judge for this round was Colin Tyler LPSNZ and we thank him for his time and effort. Congratulations go to Lynn Hedges, North Shore Photographic Society, for her superb image, Tram travellers, and to the other nine place-getters. There were many worthy entries; if you did not win a place this time, keep your entries coming in! Round 2 closes on 25 April and all financial PSNZ members are welcome to enter. One image only please, sized 1620x1080 and uploaded on the PSNZ website. Sally Phillips APSNZ PSNZ Canon Online Coordinator
Comments from the judge: Colin Tyler LPSNZ I enjoyed looking through the many and varied Canon Online images. People came up with varied and interesting ideas; picking the top ten took some time, and even longer to put them in order. Some images showed a great use of light and created mood.
1st Tram travellers by Lynn Hedges Every time I looked at this image I saw more and more so kept coming back to it. The different expressions in each window tell so many different stories. The lady in the front window makes you wonder why she is crying. Great image!
2nd Leaving home by Anne Lambe This is lovely; I could almost see the bear moving down the hallway. The colours and light all work well together and I had a great feeling about it.
3rd Raptor in the rain by Jeanette Nee APSNZ This has real impact. Even with the white background I feel you are drawn right into the bird about to attack you. The way the wing feathers are splayed out adds to the impact.
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PSNZ Canon Online: 4th Captivated by Gail Stent APSNZ Thereâ€™s a lovely feeling in this image. Even though it is under water is looks delicate and soft. Great lighting and the reflection really adds to the image. Black and white has worked well.
5th Trapped by Liz Hardley FPSNZ LRPS EFIAP/b This image gives you the feeling of the subject being trapped and alone. The framing of the steps and the black attire makes him a strong focal point.You can imagine that it is so quiet, adding to the loneliness.
6th Miss Mini by Julia De Cleene LPSNZ There is a great expression on the dog staring you down. There is a great use of framing and the colours all work well; nice detail on the fur. This image would grace someoneâ€™s wall.
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PSNZ Canon Online:
7th Another Monday by Bill Hodges APSNZ EFIAP The movement of the train speeding by, along with the man on the left, conveys a feeling of city life rushing by. The man in white has been frozen, making him a focal point for your eyes to rest on. The image works really well in black and white.
8th Reflected arches by Joan Caulfield LPSNZ Great colours are shown in this image. The reflections, shapes and lines help lead your eyes right into the image. It gives me a feeling of being trapped in a quiet place.
9th Chapel on the shore by Martin Sanders LPSNZ I like the position of the church in the corner, and the trees to the left help balance it. The light rays help bring your eyes back to the church every time. Well seen.
10th Peek-a-boo by Deborah Martin The title adds to this fun image. I like the way you have caught the eye between the feathers. The positioning in the frame works well and thereâ€™s plenty of detail in the feather.
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Photographing on the road We asked for tips and tricks from experts and members about travel photography. We hope that you enjoy the next 18 pages
All images from pages 16 - 21 by Paul Daly FNZIPP
Paul Daly: Travel, and travel photography PAUL DALY HAS twice won the TRAVCOM Cathay Pacific Travel Photographer of the Year award. He is lead photographer and tour leader in his company, Nomadic Planet Expeditions, which leads small group photo experiences, for New Zealanders and Australians, to locations around the globe. During his time back in New Zealand, he shoots commercial work for a variety of local and international clients. He fits in teaching photography, both at the community education level, and privately. Paul is a fellow of the NZIPP. He is actively involved on the NZIPP Honours Council which oversees the running of the New Zealand Iris Awards each year. Today he gives us an insight into travel, and travel photography, with a few tips and tricks that he has picked up over the past decade of photography-related travel. Travel is diverse, and so are our photographic interests, There are plenty of tips for travelling photographers. Here are five that I’ve chosen; they might help the next time you decide to take a photography holiday.
Research & planning
As you will most likely be on a limited timeline, you will want to make the most of your days. Research and planning are going to be the key to coming home with successful images. Before leaving home, research your destination, using Google Maps, Pinterest, 500px etc. Once on the road, use smart phone apps such as Sun Seeker, PhotoPills, The Photographer’s Ephemeris, Aurora Forecast, Night Sky and others to help make smart decisions about where and when you want to be at your chosen locations. Start by deciding the most important things that you want to photograph, and the best time to be at those locations. Remember that both urban and natural environments benefit hugely from the light found at the beginning or end of the day. Don’t underestimate how long travel takes, and how much time you will need to take photographs. Always allow for additional photography stops that are not planned. Once you have the basic plan, back fill your itinerary with additional “like to have” opportunities.
2 Street and daily life, the people, go short, get close and interact with the locals The streets offer a wealth of photographic opportunities. They are often raw, colourful, smelly and noisy. But they also offer a real insight into the location that you are visiting. Photographing the street life can be challenging, both personally and photographically. You need to be inquisitive and interested, but highly respectful of the people and place you’re photographing. For those in a hurry, street photography can be frustratingly elusive. For those who are willing to put in the time, you can come away with some amazing images. The single best thing you can do to improve your street photography is to give yourself the time to explore, and have an open mind to what you are going to capture. When looking for locations, try to find a busy intersection where there is plenty of foot traffic. This gives you a good chance that something interesting might pass by. Also, as it’s busy you’re less likely to be noticed. Markets can be equally busy and noisy, and are good places to practise getting in close and personal with your subjects. On quieter streets and sunny days, use shadows to conceal yourself. Try wearing clothing that blends into the crowd, and be less conspicuous by carrying minimal camera equipment. Learn to shoot from the hip, pre-focusing, and pre-setting your exposure, so that all you have to do is push the shutter button when something interesting happens. Alternatively try using the flip-out screen, instead of holding the camera to your eye.
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Constantly look for interesting compositions which include colour, contrast, pattern, DOF, local context and juxtapositions. If you’re not comfortable photographing people, your first reaction is likely to be to reach for the telephoto zoom. The problem with images created with longer lenses, is that they isolate the subject, and after a while all of the photographs take on a similar look and feel. Photographing with a shorter lens allows the background to come into play, and you start to get the story of not only your subject, but the environment they occupy. Typically I’ll shoot markets and streets with a 16-35mm lens on a full frame camera. For low light or to limit DOF, I’ll also have a fast prime such as a 35mm or 50mm f1.4 on hand. As exposure can change dramatically, I use a wedding photographer’s trick, manually setting the important parameters of shutter speed and aperture so that I’m able to freeze any action, and have enough DOF. I then set ISO to AUTO, allowing the camera to take care of the exposure for me. Get more out of your location and ditch the hotel accommodation, staying in an AirBnB or similar. Take some time sitting with the locals, and observe life as it passes by. If language allows, don’t be afraid to strike up a conversation and ask for directions or recommendations. Look to eat where the locals eat, and frequent the local markets. Though you may not initially recognise it, all this local interaction will translate to more intimate photographs of the place that you are visiting. Plus it’s sure to give you a few interesting stories to tell when you get back home.
The built environment
We have been creating built environments since we left the caves, so photographing cities and other urban environments is a valuable part of our travel photography. Buildings such as historic sites, government and religious buildings all offer a wealth of imaging possibilities. As photographers, when we explore these places we have to be mindful of local cultures, traditions and laws. If there are rules in place about dress, where you can and cannot photograph, be respectful of these rules. Always check that cameras are permitted. Often you will find that cameras are, but flash and tripods are not. In dimly lit interiors, the only option may be to increase the ISO, employ image stabilisation, lean against a pillar and hold your breath during longer exposures. Squeezing off several shots in a row will also help in getting one sharp frame out of a sequence. Buildings are often conveniently warm when itâ€™s cold outside, cool when itâ€™s hot outside and dry when itâ€™s raining. Plan your shooting days around exploring these buildings, when you want to escape the harsh middle of the day light, or cold and rainy weather conditions. Remember that urban environments are photographable in any conditions, including the rain, allowing images with residents sporting umbrellas or walking down deserted streets. Wet street surfaces become reflective and interesting, especially at dusk when street lights add another dimension to your images. If your images are cluttered with too many people, try shooting with longer shutter speeds, allowing moving people simply to disappear from your image. Building tours can give intimate insights into the design and points of interest, and they often allow access to parts of the building that would normally be off limits. Take a break from shooting entire buildings, and focus on architectural details and the people that use the space. For variety try photographing themes such as windows, doors, lamp posts, sculptures and patterns. Lit buildings and monuments look great when shot at dawn or dusk, as the remaining ambient light provides detail in the sky. Try finding elevated views, as they often give an interesting perspective that is not possible at ground level.
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If you’re wanting your images to look a little different, think about travelling in the off-season. It gives you the opportunity to photograph well-known locations, in lesser known conditions. The unfamiliar conditions will force you to think outside the square. Location, light and composition are key aspects of landscape photography, but interesting “bad” weather is often the secret ingredient to amazing landscape images. Use neutral density filters and experiment with movement to create landscape images with interesting dynamic elements. Avoid contrasty bush scenes by photographing on cloudy days.
To break away from the grand vistas, try photographing details with a macro lens, or isolating intimate landscapes with a telephoto lens. Adverse conditions can be challenging for both photographer and equipment. Make sure youâ€™re well prepared for the expected weather conditions. Keep an umbrella and a micro fibre towel on hand when photographing in the rain or snow. Utilise stitched panoramas, HDR & focus stacking, where and when your scene is beyond a single capture. Never leave home without your polarising filter!
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5 Logistics Travel is a weight conscious activity, so pack light whenever possible. Think, if I need to, can I comfortably carry my luggage? I generally travel with one rolling checked bag, and one carry-on camera backpack. Pack your tripod and other bulky items in your checked luggage, but never put mission-critical equipment in your checked luggage! Always pack your cameras, computers and HDDs in your carry-on luggage. Make sure your travel insurance fully covers your equipment. If using insurance supplied free with a credit card, check the wording carefully so that you are fully covered. When booking long-haul flights, think about arriving at your location early to mid-afternoon. If you’re tired from the flight, you won’t have long before going to bed. If you’re still awake, you can explore and do some photography. When leaving your location, make long-haul departures late in the evening, so you can make the most of your last day in the country. Plan your trip to take full advantage of free stuff like local festivals and celebrations, or natural world events such as migrating birds and animals, or phenomena such as Aurora.
Bonus! The adventure
It’s not always about the photography! Did I just say that? Yes! Don’t forget to enjoy life and the journey! Travel is about the experience, as much as it is about the photographs that you come away with, so don’t live your entire trip through the viewfinder window. Sometimes you just have to stand back from the camera and enjoy the view. At times, when travelling, the only camera that I have with me is the one that’s on my phone - and you know, that’s OK!
One body, one lens by Paul Whitham LPSNZ
WE, AND ESPECIALLY male photographers, love gear. In the members survey over 75% of respondents used more than one camera and 94% of us have more than one lens. In fact 45.7% have four or more lenses, so it comes as no surprise that when we travel we have difficulty deciding what to take and what to leave behind. We will often practise the approach that lets us swing a camera bag, while showing as little effort as possible, because we know that it well and truly exceeds the allowable cabin allowance. I was there a number of years ago, and then I decided that all that extra gear was actually an impediment to my photography. I started a very simple approach, only taking one body and one lens when I travel overseas. I have used this approach for the last four years, including a month long visit to the USA, and for the most part have never regretted the decision.
Only having one body, and more importantly one lens, means that I am working within a narrower band of choices than I perhaps would have if I could swap lenses. The thing is that having used the combination for so long I actually know the limitations, and will therefore make a decision about whether a shot is possible or not. This decision is a lot faster than a decision involving contemplating the shot against an array of lens options. In some cases the decision is that I canâ€™t get the shot, and therefore I do not try. With no other option available I donâ€™t let it bother me. In many cases by the time that you have swapped lenses the moment has passed anyway. With my Nikon, my lens of choice has been an 18105mm zoom. That is an effective full frame range of 24-160mm. It was the lens that came with the D90 as its kit, and despite being a little battered still produces great images. On my travels I tend not to shoot in low light, so a wider aperture is not needed, and I can generally crop images so donâ€™t need the reach that a longer lens would bring.
The D90 is the camera that until now has come along as well. It is lighter and smaller than my full frame D600 and despite being eight years old shoots great images. It also has the advantage of having a value under the insurance cover limit for electronic gear, so I donâ€™t have to pay additional insurance premiums.
The secret to this approach, though, lies in you having a good understanding of the capability of the body and lens before leaving on your trip. It means getting out and shooting - which is never a bad thing.
Now I am not saying that this will suit everyone. I realise that if you are travelling to Africa to go on safari then you will still want that big 400mm F2.8 lens. But for other travels, why not give it a go?
The wreck attracted me, then I saw the eagle. There was sufficient resolution to get a tight crop of the bird.
If I want to go wider than 18mm will allow, I put the camera in portrait orientation and a shoot a stitch
Travel tips by Bob Scott LPSNZ
Some quick pointers:
Travel as much as you can and carry your camera at all times.
Walk as much as possible with camera in hand and a light(ish) camera kit on your back.
Stop frequently and look around. Don’t forget to look back and see the scene from the opposite direction.
Walk around the wider environs of the highlight/iconic locations and photograph the setting of the icon.
Don’t ignore the icons because they have been “photographed to death”. Change your viewpoint and come up with something new or uncommon.
Book your accommodation as close as possible to sunrise and or sunset locations.
Create a plan that allows you to revisit significant photo locations at different times of the day.
Plan shoots in indoor locations during the middle of the day.
When rain is forecast, plan to be in built-up areas with plenty of shelter whilst you take photos of the rainy locations.
In wet regions, take an umbrella and/or a weather protecting plastic bag to cover your camera whilst you take photos in the rain.Your umbrella can be strapped in with your tripod for carrying.
In hot sunny places carry an umbrella. It provides welcome relief from the blazing sun and shade over the lens when necessary.
Photograph everything, including subjects that are not your “usual style”.
Photograph signs showing where you are. This a great help when working out the locations where images were taken.
On a general holiday which does not have special locations requiring special lenses such as bird reserves etc, consider taking one general lens only - lighter and less hassle.
Consider investing in a travel camera which is light and flexible. I have a Canon 5D Mk111 with 4 lenses which is a great challenge at airports at 12.5kg. Prior to my last trip I bought a Fuji XT2 with an 18-55mm lens. What a relief! I covered lots more ground with much less effort and I am very happy with the results.
Have a backup plan for your images. Every night I download from the camera to a laptop and backup to a portable hard drive. I do not reuse the SD cards; once they are full I replace them with new ones and keep them in a card carry pack. That way I have three copies of every image, and those three copies are in at least two different locations. It means owning a lot of SD cards but they can be reformatted and reused on the next trip.
I don’t edit images whilst I travel; I leave that until I return home. That means doing the trip three times – once in anticipation during the research and planning stage, secondly during the actual trip and finally reliving it during the editing stage.
Graeme Skinner LPSNZ
The soapbox by Paul Whitham LPSNZ
Is it really your photo? WHEN MY WIFE was doing an arts diploma at the Learning Connexion, one of the terms that they had to agree to was that nothing created as part of a formal session could be sold by the artist. As a result we have a garage full of her paintings and drawings. The rationale behind the move was that such works were created under the instruction of the tutor and were probably the result of guidance on their behalf. Therefore it was difficult to be certain how much of the work truly was the student’s alone.You will appreciate that in the art community the name of the artist is everything. This may seem a hard line to take, but when you are assessing an individual’s talents, it is necessary. In photography the final image is a combination of a number of different elements such as what the photographer has seen, control of the lighting, the overall environment and the subject matter. There is little doubt that great lighting and a strong subject provide the base for a great image. I know of a number of images that come out of workshops, that have been entered into competitions and have done well. When I have workshops where I have sourced the model, and the location, arranged wardrobe, hair and makeup, and then placed the model and set up the lighting, I generally tell my students that such images
should not be entered into competitions because quite frankly most of the work that has gone into the image is mine. When images are assessed we should be recognising the efforts of the individual photographer. As with my wife’s art class this is impossible when the image was made between a tutor and student. In my opinion there should be a blanket ban on shots taken at workshops. And, before anyone says that this is too difficult to enforce, it is no more difficult than the current rules in nature that require declarations. Note An earlier version of this article spoke about a recent image in the National Exhibition. That was based on information based on Facebook posts. I should have checked that all of the information was correct before publishing. The article did not mention names, however that has not stopped hurt. I sincerely apologise for any hurt caused.
Travel tip From Paul Byrne APSNZ ARPS AFIAP I travel a bit and one of the most useful tips I can think of, and it’s saved my gear on a number of occasions, is that hotels frequently provide complimentary shower caps. These are quite small and are usually elasticated. I have never used one as intended but I do find them really good at protecting a camera and lens from rain and, to a lesser degree, dust. I always keep one in my bag and top up whenever using a hotel.
I AM QUEENS PARK
I AM THE CATLINS
I AM WINTON
I AM INVERCARGILL
I AM GARVIE RANGE
I AM LAKE HARRIS
IMAGES SUBMITTED BY: BELINDA PARADIES, CORIN WALKER BAIN, EMMA FEHON, ERWIN ENRIQUEZ, KEVIN WEIR, LAYTON FINDLATER, MAC NITTA, MARK BRIDGWATER, MATT STARK, ROB BROWN, SIMONE CANALI, YURI CARTER
I AM SOUTHLAND SHOW US YOUR NEW ZEALAND WWW.IAMNEWZEALAND.CO.NZ
I AM PIOPIOTAHI
I AM SLOPE POINT
I AM STEWART ISLAND
I AM MANAPOURI
I AM COLAC BAY
I AM HOMER TUNNEL
27th National Photojournalism Competition A REMINDER TO members of the PSNZ and affiliated clubs that the New Brighton Photographic Club is once again proud to present the National Photojournalism Competition. The Walker Trophy will look magnificent in anyone’s trophy case and once again prizes of storage media and memory cards are up for grabs for the winners. The categories remain the same. Section one: Sport/Action Section two: Street photography/Social commentary The rules have been revised this year to clarify some of the finer points, and the rules and entry form will be available soon on the NBPC website. Start sorting out those potentially winning images and be prepared for when entries open.
High five – see and do! YOUR REGIONAL CONVENTION at Whanganui – 28 to 30 September 2018 Early information about this year’s Central Regional Convention is in the advertisement on the next page of CameraTalk, but you might like to look at our keynote speakers’ websites. You’ll find Catherine Adam at www.catherineadam.co.nz and Thomas Busby at www.tb-photography.co.nz We’re thrilled to have secured these very special photographers and look forward to sharing a special time with them. They will inspire you with their presentations and they will be with us on the great field trips we’re in the process of finalising. The convention will be based at Collegiate School in Whanganui. The school has a proud tradition, wellestablished buildings and facilities in a wonderful setting. Full catering will be provided and low-cost accommodation will be available - along with breakfast! More details will be available shortly. In the meantime, reserve the dates 28 to 30 September in your diary. We’re planning a not-to-be-missed occasion – do plan to be there!
Audio-visual notes by Trish McAuslan APSNZ AFIAP AAPS – JSMT Coordinator
Tauranga AV Salon Entries open on 1 May and close at midnight on 6 June This is a great opportunity to share your audio-visuals. Do try to enter at least one AV into this salon. It might be an AV you created last year to enter into your club’s AV competition, or possibly the Jack Sprosen Memorial Trophy Competition, or it might be a new one you have created. The only restriction is that an AV that has gained an acceptance or better in a Tauranga AV salon may not be entered again. This means that a sequence you entered in the past that was not successful can be entered again, although you will probably want to make some changes first.
Come to the PSNZ National Convention in Dunedin to see the winning audio-visuals from the Jack Sprosen Memorial Trophy Competition.
We have noticed that some people are not sure whether to enter their AV into the documentary category or the theme category. A documentary audio-visual is a factual account or description of a place or event, such as you would see on the TV.
Judges for audio-visual competitions If your club is running an audio-visual competition, remember to make sure the person organising the judges is aware that PSNZ now has accredited AV judges. They are listed with the accredited judges on the PSNZ website and in the Members’ Directory.
Death is an art by Helen Macleod APSNZ
Some tips for writing a voice-over or narration One way to decide if your audio-visual needs a narration is to ask someone who knows nothing about it to watch it and tell you how well they understood the story. Remember that often the audience is only going to see it once. They won’t be able to ask you questions about it, so you need to decide if your message was understood after one viewing. If it was, a narration is not necessary. If not, decide how to improve the story-telling side of your AV. A narration may be the answer. Sometimes you are not able to tell the full story through images, and maybe some of that extra interesting information can told in a spoken dialogue. Sometimes a short spoken introduction is sufficient.
This will give you a storyline and help you decide which images to include and in what order to show them. Try to write it in a conversational way. Use short sentences and words that are likely to be understood by your audience. Don’t feel that you need to talk the whole time - you don’t. Some images speak so well for themselves that spoken words just get in the way. It’s important that your narration gives the audience new information; don’t tell them what they can see on the screen. Narration is only heard by your audience, so read your script aloud to see how it sounds. Replace any tongue twisters and ‘difficult to pronounce’ words with simpler ones. If you are reading it, try to make it sound as if you are having a conversation with a group of people. Concentrate on putting expression into your voice. If someone else is reading it for you, explain or show them how you want it read.
Use images that also introduce the story so the audience has something to look at while they listen.
Trish McAuslan APSNZ EFIAP AAPS
Write your script early in the AV creation process.
email@example.com JSMT Coordinator for PSNZ
Hawera Camera Club excels An evening with Jackie Ranken and Mike Langford
Eight Whanganui Camera Club members travelled to Hawera for a presentation organised by the Hawera Camera Club. The well-known duo of Jackie Ranken and Mike Langford gave us an excellent evening. The good people at Hawera organised an outstanding event, well managed with a full hall and a lovely supper at the end of the presentation. Jackie and Mike worked well together, bouncing ideas off each other. They described how they were able to work together while preserving their individual styles and approach to photography. They showed still images as well as AVs and discussed experiences in their work. Many hints and tips were picked up during the evening, and books written by Jackie and Mike were snaffled up. We came away inspired and revitalised, confident in our ability to take steps forward in our photography. The evening reinforced the benefits obtained by belonging to photography clubs and linking in with clubs from adjoining areas. Thanks, Hawera – it was well worth the journey!
A photographic journey:
Beverley Sinclair tells her story BEVERLEY BEGAN HER photographic hobby thanks to an enthusiastic neighbour in her home town of Opunake. An Agfa Silette was the beginning. On moving to Wanganui in the mid-sixties she joined the very friendly Wanganui Camera Club (WCC) and was encouraged and challenged by members like Arthur Bates,Vonnie Cave and Derek Endersby who were all involved with PSNZ Council work at that time. Beverley soon found herself on the club committee and, using her interest in publications, took on the club magazine, Focus. On return from a PSNZ convention Arthur,Vonnie and Derek said they had put her name forward to be editor of the PSNZ journal, NZ Camera. The magazine won the Photographic Society of America’s International Bulletin Contest in 1983, after a few years in second and third place. Beverley has had several small local print exhibitions. These included Blooming Kids (Te Heti school children doing well), Save the Trees (12 prints featuring houses built with materials other than wood), and In Motion (three mini-exhibitions for a local women’s gym). She has been involved in several community based photographic projects. For Mainstreet Wanganui,
Beverley completed the photography and editing of a publicity booklet called Wanganui – the Journey and photographs for the Wanganui Bronze Rubbing Trail project. While working at the Whanganui Regional Museum she completed three education kits for schools which involved old and new photographs, The Street, Great Expectations and Te Waonui Tanemahuta (plant life and bush lore). She was also commissioned to complete photos for Snap, an exhibition of Wanganui city present-day images, comparing them to those taken by earlier photographer Frank Bethwaite . Her position as a Civil Celebrant for more than thirty years often involved her in wedding photography too.
Harakeke, the gift (mounted print)
In 2003 PSNZ was to celebrate its 50th Anniversary. Beverley was asked to research and write the PSNZ history and worked with Roger and Margaret Brownsey and Jack Sprosen to produce the special NZ Camera edition which included its history and annual gallery. She was awarded a PSNZ Service Medal in 2010 for her contribution to PSNZ and for over 40 years’ service to a camera club. This was her second such award, the first having come her way in 1985 for outstanding service to photography in the Wanganui community. The now Whanganui Camera Club will be 125 in 2019. It has been closely associated with PSNZ since its inception. Beverley is a WCC Life Member and is President for the second, or is it the third, time. To add to the mix, she now finds herself on the committee organising this year’s Central Regional Convention. For Beverley, life is never dull!
Image © Chris Pegman
As part of WCC and PSNZ, Beverley was often busy with interclub judging and organising several conventions. When slide transparencies became popular and SoundSlides entered the scene, Beverley enjoyed the annual workshops at Turangi, run by the Coopers and Bert Dekker, and helped judge the annual NZ SS Competitions. Her interest in graphic design and photography has led her to enjoy multi-media photo art, photo essays and photobooks.
PHOTOGRAPHY RETREATS NZ
Escape for an amazing weekend of photography, food, learning and conversation, with guest landscape and astro-photographer Chris Pegman, in one of NZ’s most beautiful locations.
11-14 MAY 2018 Register now at:
www.photographyretreats.wixsite.com/prnz *limited spaces available
22nd Laurie Thomas NZ Landscape Salon 2018 by Team Leader Carolyn Elcock ANPSNZ AFIAP
The Laurie Thomas New Zealand Landscape Salon closes on 25 May Entries opened on 19 February 2018 for New Zealand’s premier salon for landscape projected images. The salon celebrates our beautiful country by limiting entries exclusively to photographs of New Zealand’s landscape. This popular salon continues to grow each year, with a record 169 entrants and 651 images in 2017. Again this year, each entrant who receives an Acceptance or above can expect to see a colour reproduction of one of their images in the catalogue. Each entrant can enter four images and all entrants receive a copy of the catalogue. This year the selection of successful images will take place in the North Island, chaired by Shona Jaray APSNZ, assisted by Caroline Ludford LPSNZ LRPS and Neil Gordon APSNZ. The salon is run by the Christchurch Photographic Society which is delighted to announce that all three judges will attend the final night on 18 July. Salon closes 25 May 2018
To inspire entrants, here are the top images from last year’s salon!
Champion Image: Gold Medal - A light in the darkness by James Gibson APSNZ AFIAP
Silver Medal - Foggy morn Hagley Park by Jacky Challis
Silver Medal - Mystical metropolis by Bob McCree FPSNZ
Honouring our trade partners Hosting a convention of any description is never successful without the valuable support of third parties, and for PSNZ this means the support of the New Zealand photographic industry. This year we offered our partners the opportunity to take naming rights for any of the field trips that they felt best aligned to their brand and/or equipment. There will be some great opportunities for participants on these field trips to test some new equipment, get expert advice from the brand experts themselves and hopefully treat themselves to a new camera or lens! We acknowledge the ongoing support from our Platinum partners - Canon for sponsoring the Canon National Exhibition, and to CR Kennedy for sponsoring the Honours Banquet. Our Gold partners are Sony, Fujifilm and Nikon; our Silver partners are Progear, Panasonic and Lacklands who for this convention have introduced the innovative ‘Gear Talk’ hangouts at which they will promote and demonstrate eight of their brands - Joby, DJI, Tamron, Peak Design, Lowepro, Manfrotto and Hahnel. Our Bronze and equally as valued partners are our steadfast supporter Epson and newcomers Ilford and Queensberry. Thank you to you all - we couldn’t do this without you. We appreciate your support and commitment to the Photographic Society of New Zealand.
Celebrating sixty years… “We are not makers of history. We are made by history.” Martin Luther King, Jr PHOTOGRAPHY HAS FASCINATED men and women for generations, both professionally and recreationally, from pinhole cameras to plate cameras, and box brownies to the digital revolution. Darkrooms have become Light-rooms and data recorders have replaced slide projectors - all this in just a few short years! Had someone foretold the future of photography to our founding fathers back in 1956, when the Tauranga Photographic Society [TPS] was first constituted, I wonder what their reaction might have been. The inaugural meeting of our Society was held on 12 January 1956. Our first President Elect was Mr Bob Withers. On 7 February 1956, the first meeting of the Society took place at the St Peters Presbyterian Church Hall. Forty people attended and a committee was duly elected. During that first year, the committee worked hard to establish competitions and rules for judging. It sought publicity from the Bay of Plenty Times and the Pacific Coast Times and by the end of 1956 TPS had attracted 100 members, making it the sixth largest in New Zealand. At that time, the annual subscription fee was twenty-five shillings per single member and thirty-two shillings and six pence for married couples. During 1957, Mr T Maltby undertook the incorporation of the Society and it became official in October of that year. By now the Society had also become affiliated to the Photographic Society of New Zealand [PSNZ] and in 1958 hosted the 2nd New Zealand International Colour Exhibition.
TPS has regularly hosted PSNZ events such as regional and national conventions during its 61-year history. The last National Convention to be hosted by TPS in 2015 was the 63rd National PSNZ Convention, held at the Tauranga Racecourse. This was the last five-day event of its kind and world-class speakers came from America, the United Kingdom, Australia and New Zealand. More that 330 photographers attended. In addition to stills photography, members of the Society have been involved in creating slide presentations with sound recordings since 1962. In August of that year, Mr Ron Melvin organised the first ever National Sound-Slide Exhibition to be held in New Zealand. The event was repeated in 1963. In recent years, TPS organised its own annual AudioVisual [AV] Competition. AVs have replaced soundslide presentations, being the digital equivalent. However, the quality has vastly improved as more members try out the latest editing programmes. In the past couple of years this competition has also taken on an international flavour. How to celebrate 60 years? The management committee reflected that in the sixty years since our incorporation, there remained no collaborated historical record of what must be thousands of photographic images. With no real way to remedy this situation we hit upon the idea of creating and recording a snapshot of the work of Tauranga Photographic Society members, some sixty years on. In 2017, the Tauranga Photographic Society had 110 members. Each of them was asked to contribute an image for a photo-book, to mark a milestone in the photographic record of our society as a tangible link to those members.
Members were invited to submit two of their favourite images; there was no restriction as to the type or subject. Every member was guaranteed one image in the book. A selection process was undertaken and the book was given a loose narrative by dividing the images into (quite broad) sections:
If your club has information or events that it would like to share, email the details to Lindsay Stockbridge LPSNZ at dilinz@ actrix.co.nz.
People in action
In our environment
Our natural world
The images were titled and the author noted. However, in the interest of equality, there was no reference in the body of the book to individuals’ grades or outside recognitions. This was left to the index at the back. In true egalitarianism style, PSNZ Fellows sat alongside C Graders. We did celebrate some of our collective TPS successes by including more recent PSNZ National Exhibition Gold Medal winning images, and the portfolios of our two society Fellows. We had our soft-covered square format book printed by a local printer, Kale Print. To cover costs, we successfully sought and received funding from the Lion Foundation as well as some paid advertising organised by local camera store, Carters Photographics. The books were handed out, free of charge, to every member at our Christmas break-up meeting. Our book Celebrating 60 Years is subtitled A showcase of images created by members of Tauranga Photographic Society and we are very proud of it. It is a record that will live on; in another sixty years it will remain a tangible link to photography of our day, and serve to remind photographers of tomorrow that they are a result largely of what has come before them. Indeed, their work will in many ways have been …made by history.
A copy of the publication is available for download from this Dropbox link. The PDF is designed to be viewed as a two page spread.
Paul Byrne APSNZ ARPS AFIAP (TPS President) Annette Johnston LPSNZ (TPS Vice-President)
Murry Cave FPSNZ THIS MONTH MARKS the end of the current Council involvement as Immediate Past President Murry Cave FPSNZ FNPSNZ leaves the PSNZ Council. A number of members and one longstanding PSNZ partner were kind enough to share some thoughts on Murry.
During my three years on Council I worked alongside Murry in my role as convention councillor. Murry was exceedingly good to work with and always there to answer the queries I threw at him. He was an extremely hard worker and was always ready to put his shoulder to the wheel on the days the actual conventions were taking place. No task was too great, whether it was putting up tents, setting up projectors or many other tasks. He never saw himself as having a role above all the menial tasks. Norma Bartrum - former Council member I had the pleasure of first meeting Murry at one of the national conventions many years back. He had an incredible passion for photography and a real sparkle in his eye as I would show him new equipment to try out. In fact Murry was so fascinated by photography and what was going on that on one occasion he announced a new product we were about to get before I was even notified from the manufacturer. Over the years Murry has spent endless hours travelling the country, seeing members and sponsors and really opened the communication lines with all parties. Gerard Emery - CE of PSNZ Partner CR Kennedy
I first met Murry during my involvement with the preparations for the National Photographic Society of New Zealand Convention. At that time he was the President of PSNZ. Put simply, I strongly believe that without Murryâ€™s support, I doubt we would have been able to pull off a successful convention, as there were many major difficulties we had to surmount. In short, it was a miraculous success and while I cannot say it was Murry alone that facilitated this outcome, he was without a doubt a key element. Jo Boyd - President, Queenstown Photographic Club
Murry was always at hand during his Presidency of PSNZ to lend assistance and give advice to clubs. Running a PSNZ national convention is a challenge for any club but in our case Murry was always at hand and hugely supportive. He provided substantial assistance in overcoming some significant organisational problems that we encountered. He did so with understanding and kindness. In so doing, he undertook many generous actions at his own expense. We will not forget his outstanding leadership, generosity and friendship.
Gillian Clover LPSNZ and Carolyn Hope APSNZ - Secretary and Chair respectively of the 2014 National Convention in Blenheim.
The George Chance Interclub 1st North Shore Photographic Society
Ducks at dawn
Colourful morning Matawhio River
2nd Rotorua Camera Club
3rd Rangiora Camera Club
Above the neck
Sunrise at Motueka Spit
The Bowron Trophy 1st Auckland Photographic Society
2nd Howick Camera Club
3rd Rotorua Camera Club
Early walk in the redwoods
The Wiltshire Cup 1st Christchurch Photographic Society
Enjoying a dance
Dance the night away
Hula hoop motion
2nd Kapiti Coast Photographic Society
In my fatherâ€™s eyes
Jamie and Rotor
I met a boy
3rd New Plymouth Photography Club
New Zealand Karearea
Odd man out
Bird of prey
The Bledisloe Cup 1st North Shore Photographic Society
The living room
2nd Christchurch Photographic Society
1st Auckland Photographic Socie
The Ibis What a hoot
3rd Auckland Photographic Society
Into the light Self portrait
Awards night: Celebrations follow new competition
ON 2 MARCH around 80 people joined the founders of the New Zealand Secondary School Photography Competition (NZSSPC) for an awards night, celebrating the top 20 competition entries. Guests included two of the judges from the Photographic Society of New Zealand (PSNZ) panel, sponsors from the Bayleys Foundation, the secondary school winners, many family members and members of the public interested in the outcome of the competition. After viewing the top 20 photos in the Bruce Mason Centre foyer, the guests were invited to take their seats as the presentation began. Organisers Petra Patterson and Sally Zhang introduced the competition and acknowledged the generous sponsors who had supported them throughout the process. This was followed by Lynn Clayton Hon.PSNZ APSNZ EFIAP ESFIAP and Karen Lawton, two of the PSNZ judges, presenting the top 20 photographers, the top three winners and finally the people’s choice
award. They were accompanied by Sue Stanaway from Bayleys, as they revealed the best photograph (people’s choice) as voted by New Zealand viewers. Each party described their experience with NZSSPC, with the judges from PSNZ outlining the judging process and the Bayleys representative explaining their interest in supporting the competition. Overall the evening, recognising the talent in young photographers, was a great success. The NZSSPC team hopes that this competition will become an annual event in which many Kiwi secondary school students will participate. NZSSPC looks forward to next year’s awards night.
Some of the top 20 photographers with NZSSPC founders and Sue Stanaway from Bayleys Foundation
Founders and competition organisers Sally Zhang and Petra Patterson, addressing their audienceÂ
Karen Lawton and Lynn Clayton announcing the top 20 awards, with Sue Stanaway presentingÂ
1st place award Post-rain by Samuel Pan, Auckland Grammar School, Year 12
2nd place award Greenhouse boy by Sofia Gorman, Western Springs College, Year 10
3rd place award Illuminated darkness by Billy Park, Kristin School, Year 12
Peopleâ€™s choice award Artificial rain by Sofia Gorman, Western Springs College, Year 10Â
Membership matters: is it legal? from Vivianne Baldwin APSNZ, Councillor for Membership
OVER THE PAST few months CameraTalk has brought to you several ways to protect yourself from issues we photographers unwittingly fall confront. After an incident involving members in the UK camera club we belonged to, I have been aware for many years that, when taking photographs in another country, we should check that it is OK to take a photograph. Several members of our club travelled to France. I cannot recall the exact details but they suddenly found themselves being questioned by the police after taking photos of an event they had attended. Richard and I attended a concert in the UK at Leeds castle and were approached by security and told we could not take photos of that event! The security people wanted to take the film from our cameras, but luckily we were able to persuade them the photos were for private use only. In the last issue of CameraTalk Paul Byrne APSNZ ARPS AFIAP submitted a very informative article called Copyright Issues: A Christmas Tale and advice for all Photographers. It was also published in the latest D-Photo magazine. Paul has kindly agreed for that article be made available to PSNZ members as a help sheet. Following this theme I would like to draw your attention to another of our help sheets, found in the Members Only area of the PSNZ website. The help sheet is called Photography Law in New Zealand – A Guide to NZ Law Relating to Photography, written by James Carnie (Principal, Clendons Barristers & Solicitors).Link: https:// photography.org.nz/members-login/resources/help-sheets/ PSNZ has reproduced this help sheet with permission of Clendons Barristers & Solicitors and this support is acknowledged. Some amendments have been made by Dr Murry Cave FPSNZ FNPSNZ, PSNZ Councillor, with approval from Clendons Barristers & Solicitors. There are many reasons why we take photos, for pleasure or business, to enter competitions - the list is endless. But we need to be careful that we do not inadvertently break any laws. Remember that just because we don’t know the law doesn’t make us exempt from the law.
Nelson National Triptych Salon 2018
Reykjavik Abstract by William Wright FPSNZ Champion Projected Image 2017
The popular Triptych Salon hosted by the Nelson Camera Club will be on again this year but with a few changes to make it easier for you to enter and for us to host. Thereâ€™ll be no print entries this year, projected images only. There will not be an exhibition either but there will be a fabulous Presentation and Awards evening where printed enlargements of the highly awarded images will be on display and an audio-visual of all the accepted images will be shown. The Salon will open for entries on 1 August and close on the 31 August. Entrants to this Salon have a little over four months to create their Triptych masterpieces using subject, colour and/or design of three images working together, forming an eye-catching and captivating triptych. Please visit http://www.nelsoncameraclub.co.nz/national-triptych-salon-2/ to view the rules and other information. For more inspiration you might like to visit the website of Jane Trotterâ€™s (APSNZ) website http://abstractedreality.com/articles/talking-triptychs/
Peter Wise Nelson Camera Club
FIAP NEWS From Ann Bastion FPSNZ EFIAP, FIAP Liaison Officer
FIAP 2018 Congress in South Africa THIS YEAR’S FIAP Congress is to be held in Durban South Africa from 11 to 17 August. There will be a “Wild Park” visit as part of the itinerary. There are also pre- congress and post-congress tours available to add if you wish to extend your stay. If you would like more information please contact: Ann Bastion firstname.lastname@example.org
The last image
FIAP b&w biennial Thank you to all those who sent in their “contemporary architecture” images for the FIAP biennial. There were some great images to choose from but we could only select a cohesive set of 10 which was sent off last week. The results will not be known until mid-July and I will let you know the results as soon as I know. I would also like to thank the selectors - Brian Cudby Hon PSNZ FPSNZ EFIAP ESFIAP, Lynn Clayton Hon PSNZ APSNZ EFIAP ESFIAP and Moira Blincoe LPSNZ.
Paul Daly FNZIPP