Camera Talk - February 2022

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

Fe b r u a r y 2 0 2 2

In this issue Mark Chamberlain LPSNZ

PRESIDENT

Paul Whitham LPSNZ t. 021 644 418 e: president@photography.org.nz

SECRETARY

Chryseis Phillips m. 021 0277 6639 e. secretary@photography.org.nz

EDITOR & ADVERTISING Mark Chamberlain LPSNZ m. 021 502 354

e. michamberlain@icloud.com

SUBEDITOR

Lindsay Stockbridge LPSNZ

t. 06 348 7141 or m. 027 653 0341 e. dilinz@actrix.co.nz

GRAPHIC DESIGN

In addition, we feature: • •

Ana Stevens APSNZ m. 022 193 1973 e. anci.stevens@gmal.com

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NEXT CAMERATALK DEADLINE

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25 March 2022 Email your contributions to the Subditor.

Editorial should be sent as Word or .txt files. JPEG images generally should be saved at 300 dpi, compressed to high to medium quality. Include return postage if you wish material to be returned.

The opinions expressed in this newsletter are not necessarily those of the Editor or of the Council of PSNZ. On the Cover: Ballerina - Ana Stevens APSNZ

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After a long and complicated relocation from Wellington, I write this editorial in Perth, Western Australia. Since the last issue, I have lived a nomadic existence in the eastern states, waiting for the Western Australia border to open to WA residents. In this respect, Western Australia is very similar to New Zealand in its COVID policy approach. Hopefully, conditions will improve in 2022 on both sides of the Tasman Sea. I am already planning a return to New Zealand in mid-2022 with unused Air NZ credits for winter photography. New Zealand is too beautiful to stay away from for too long. The late publication of the February-March issue of CameraTalk is due in part to my distractions.

In this issue, there is a special feature on Portrait Photography, with contributions from two award-winning expert photographers sharing their advice on making beautiful creative portrait photographs. We also feature a gallery of PSNZ members’ outstanding portrait photographs.

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President’s Corner Member Profiles. Past-President Moira Blincoe LPSNZ talks to PSNZ Patron John Boyd Hon FPSNZ Hon PSNZ APSNZ about his life in photography.

FIAP International Salon updates and information for members considering international salon entries in 2022 New judge accreditations and judge training weekends in 2022 New Zealand Camera—an update for members wanting to contribute to this annual PSNZ publication Canon Online Round 6 winners and summary Audiovisual News Two discussion pieces on the pitfalls of buying camera equipment PSNZ workshops

Content Key dates for the diary

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It pays to buy local!

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FIAP in 2022

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Member showcase — John Boyd Hon FPSNZ Hon PSNZ APSNZ

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Special feature: Portrait photography Intro

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The lie is real

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Portrait photography

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Workshop series 2022 update

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Audio-visual news

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Info board

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Canon Online —results

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A Note from the President Welcome to 2022, although at present, for many, it may be feeling a lot like version 3 of 2020. There is no doubt that there is a lot of uncertainty caused by the Omicron variant and the move to Red. I hope that people managed to have a good break over the holiday period. My wife and I finally managed to get up to Gisborne for a couple of days to visit her 93-year-old godmother. I even managed to put together three model shoots over the period.

It has been great to see the images posted on the Facebook group in the weekly challenges organised

by Councillor for Communications Sue Wilkins LPSNZ. Sue has done a great job selecting the images that appear in the banner. Sue maintained a list of those with a banner image and tried to ensure the honour was shared.

Fortunately, unlike the last two years, the traffic light system is not a lockdown, and with the vaccine mandate in place, we can still proceed to run most of our events safely. As outlined in my email on 25 January, the first 2022 workshop will proceed as planned later this month. At the time I wrote this, 3

... A Note from the President the Honours Board assessment will start on 11 March in Invercargill.

The situation with the national convention was more complicated because it was a multi-day event, largely based inside. While I had been hopeful that we could hold it in some form, the reality was that we really couldn’t make it work, so we cancelled the event.

Modelling suggests that we will only just have passed the peak of the pandemic wave by the end of March.

Therefore, it is not prudent to ask our members to travel and gather when many would feel uncomfortable doing so. Given how conservative the Government has been, I can’t see New Zealand moving out of the Red setting until the end of April at the earliest.

While we could have 100 people attend, by the time you took out all of the extra people who were associated with the event (such as trade partners, convention team and presenters), the actual number of delegates would only be about 50. On that basis alone, the event was not financially viable.

Over the last week, I have been working on the annual performance statement, which will be circulated to members prior to the AGM. It is great to see how well the organisation performed in the last 12 months, despite what the virus threw at us. One of the most pleasing metrics is that our membership numbers have been relatively consistent over the last five years. Unfortunately, the number of affiliated clubs has decreased, with the loss of four clubs in 2021.

Finally, for those in the final stages of putting together your Honours applications, I wish you all the best.

From personal experience, putting a set together is a challenging process, especially when you have to reject images that you like or ones that have done well in competitions − simply because they don’t fit in the set.

Remember, the deadline for submissions is 28 February, but that is the date when the print entries have to be in Invercargill and not when you fill in the online form.

Paul Whitham LPSNZ, President

Planning for the 2022 Workshop Series is progressing, and more information on these events will be released shortly. Entries for the National Exhibition are now open as well. As we had already decided to have a digital-only event, the exhibition's running is not affected by the traffic light setting.

Club News If your club has information or events that you would like to share, email the details to Lindsay Stockbridge LPSNZ at dilinz@actrix.co.nz or Ana Stevens APSNZ at anci.stevens@gmail.com

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Key Dates for the Diary February 25

Canon online round 1 closes

February 25, 26

PSNZ Workshop series 1: Bird photography

February 28

Submissions for 2022 PSNZ Honours close

March 1

Interclub competitions close

March 1

NZ Camera submissions open

March 31

NZ Camera submissions close

April 24

Laurie Thomas Salon submissions open

April 25

Canon online round 2 closes

May 22

Laurie Thomas Salon submissions close

June 18 & 19

Judge training weekends

June 25

Canon online round 3 closes

Miss Sadie / Louie - Moira Blincoe LPSNZ

Ballerina, by Ana Stevens APSNZ

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Novice Monk, Myanmar - Lyn Alves

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It Pays to Buy Local!

Aston Moss LPSNZ, Councillor for Partnerships A friend was asking for advice on buying cameras the other day, and I suggested he drop into my local camera store to fire his questions to the team there.

I was confident they’d do a far better job of answering his questions than I could and would be able to speak about a much more comprehensive range of products than just the ones I’ve chosen to use.

He said he’d intended to ask a few friends and watch some YouTube videos before purchasing through an “online-only” retailer because he believed that would get him a better deal. Now, like many people, I love a deal too, but I wasn’t sure he’d thought it through.

I asked him who he intended to place an order with and what he knew about them. He said it was an online store based somewhere in Auckland. I asked him to pull up the website and, sure enough, there was no physical location specified, simply a suburb.

It turns out they’re a parallel importer. They don’t have any physical presence that a customer can visit, not even a mailing address. They may not have anybody “on the ground” here and may ship products directly from distributors or offshore stores from online orders.

Yes, there are a number of these outfits around, and not just for photographic equipment. Problems can arise if or when something goes wrong. It might prove difficult or costly to have equipment repaired under warranty. For example, you may need to pay to return it to an overseas service agent, often an expensive and time-consuming process. It may be difficult to claim under a foreign warranty here in New Zealand.

There are benefits to buying local: • You can seek advice on buying based on discussion with a real human being. Their expertise can help with questions about your aims, how accomplished you are, and other relevant information such as genres, budgets and all manner of other things.

• You can often receive help setting your gear up and learning how to use it, or at least having some of the trickier bits pointed out.

• Purchases are under protection by the Consumer Guarantees Act, which is enforceable in New Zealand.

You only need to deal with the retailer from whom you purchased the product – and won’t be pushed back to a manufacturer.

• You can take any faulty kit back to the store where you purchased it and know they’ll stand behind it.

• You may be able to trade in existing equipment to help make your new purchase a little more affordable (and a little more sustainable).

• Local operators, including retailers, distributors and the brands themselves, do a lot to encourage and nurture photography here in New Zealand. They often put on or sponsor educational events, support organisations such as PSNZ to grow our members, and run events like competitions and promotions on their products from time to time.

•Sales here also help keep locals employed.

Some of the risks with purchasing online or offshore include: • The chance that the camera equipment never arrives.

• You may not see all of the costs. Some offshore retailers will charge you freight, which can be significant, and possibly insurance. Others may charge in US dollars or other foreign currency, and you may not get a great deal on the conversion.

• The products’ accessories might not be suitable for New Zealand – specifically power adapters.

• You may also be required to pay import duty or GST on your purchase.

In short, although it’s easy to spot a lower price at a hundred metres, it’s not quite so easy to see the many different ways in which buying local can benefit you and the wider photographic community.

And as for my mate? Well, he’s about to talk to the people I suggested because he can see good reasons to spend his cash with them.

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It Pays to Buy Local – Editor’s Response Mark Chamberlain LPSNZ

Aston Moss LPSNZ has written a thought-provoking article with many valid points. As we all know, buying camera gear is a costly undertaking, and the consequences may be far-reaching if we make the wrong decisions.

To add further balance and context. Not all online retailers are dealing in dodgy overseas “grey goods”. There are now reputable New Zealand online companies that have built a reputation based on choice, competitive price, timely delivery and selling products under a New Zealand warranty.

The online trend will only increase in the future.

Local retailers If members are uncertain about what gear to buy, the best recommendation is to find a local outlet renting camera equipment. Try the equipment for a couple of weeks before buying, or borrow from a friend or camera club. Hiring equipment before purchase may not be necessarily expensive – $30 to $50 per week for a standard body or a lens, plus a refundable security deposit.

If you have a trustworthy local dealer (not pushing a specific camera brand for increased profit) giving knowledgeable, impartial advice and product choice – stick with that dealer. Support local businesses providing quality services; they need customer loyalty, particularly after the impact of COVID restrictions. On this basis, Aston’s points are correct.

Online retailers The phrase caveat emptor certainly applies to some online retailers, particularly those dealing with goods from Hong Kong or the USA. As Aston explains, you might get a great deal on the surface, but there may be no comeback in the event of a dispute.

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However, times are changing, and there are obvious reasons why many global High Street retailers are declining, stores closing, and customers increasingly turning to online retail. Customers want more choice, access to specialised equipment and competitive prices. The online trend will only increase in the future.

For example, I recently bought equipment from an online retailer with distribution offices in Auckland and Wellington. True, there is nobody to talk to for specific photography advice, but the prices and product choice are more competitive than in my local city stores. I also knew what I wanted in advance. This online-only company was established specifically for the local demands of the growing movie, photography and media industries in New Zealand. My products arrived carefully packaged by DHL Courier the following day. If not satisfied, there is a return policy. I have had no such issues after several orders.

If unsure, check the company websites for a registered New Zealand address, NZ business number, and read the Google reviews. Grey goods dealers are usually apparent from online customer reviews.

Better still, go to the official parent websites of Nikon NZ, Canon NZ, Sony NZ etc. and check out their recommended New Zealand retailers. These will be listed and will include both physical stores and online retailers. All recommended dealers sell products with a New Zealand guarantee. Onlineonly retailers, like every business, must work hard to build customer reputation and loyalty.

Finally, If the deal looks too good to be true, it probably is – caveat emptor.

Looking up - Janice Chen LPSNZ

Photo of the old soldier in his late 90's by Kate Burton

Lia Jas channels Frida - Cornelia Priemus

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FIAP in 2022 Ann Bastion, Hon PSNZ FIAP Liaison Officer FPSNZ EFIAP MFIAP

FIAP Biennial Each year PSNZ puts in an entry for the FIAP biennial which alternates between 20 colour projected images one year and 12 monochrome prints the next year. Because of COVID, the 2022 biennial (which would have been monochrome prints) has been cancelled. The 2023 colour projected image salon will (at this stage) go ahead. We need to send our entry in January/February. I start calling for submissions at the end of 2022. We will then select the 20 images that best represent the theme we have chosen and send our PSNZ entry up to FIAP to be judged. This is free to enter and is eligible for FIAP acceptance points if the score of your image is above eight.

Entering International Salons if you would like to try your hand at entering international salons, you will find a list of FIAP sanctioned salons here https://www.myfiap.net/ patronages. There is a help sheet available on the PSNZ website called Working towards FIAP Distinctions. This will explain the process and give examples of how to go about this. Click on this link for access to the document: https:// photography.org.nz/honours/fiap-and-fiapdistinctions/working-towards-fiap-distinctions/ At this stage (this could change and be extended), 2022 is the final year in which the old

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regulations will apply. New regulations are set to apply in 2023 and will, in most cases, require a significant increase in numbers. You will find a document outlining these changes on the PSNZ website. Here is a link: https://photography.org. nz/honours/fiap-and-fiap-distinctions/new-fiapregulations-after-2022/

Going for FIAP Distinctions If you have been gaining acceptances in international salons, and keeping track of them in your spreadsheet, you might be ready to apply for distinctions this year. I will be calling for your draft files at the end of May, just to check you are on the right track. It doesn't matter if you haven't reached the target yet as this is just a check, and a chance to correct any issues at this stage. I will be sending the completed applications on 1 September this year, earlier than in previous years. This is because I have arranged with FIAP that New Zealand applications all have their certificate dates set to 1 December each year.

This means the applications have to be sent up three months prior to certificate date.

See above for links to view these documents or go to the PSNZ website: https://photography.org. nz/ and under the Honours tab, click on FIAP at the bottom where you will find all the related documents.

As always, if you have any questions don't hesitate to contact me at ajbastion@gmail.com

FIAP Update I am pleased to announce that last year, 2021, despite the restrictions of COVID all over the world, seven PSNZ members achieved FIAP Distinctions.

They are: • Robert Weir LPSNZ AFIAP • Philippa Wood LPSNZ AFIAP • Kathrin Affeld AFIAP • Toya Heatley APSNZ AFIAP • Jiongxin Peng AFIAP • James Gibson APSNZ EFIAP/b • Liz Hardley FPSNZ EFIAP/s PPSA LRPS

Congratulations to all these people — a well-deserved outcome for the work put in.

FIAP is introducing new criteria for obtaining distinctions. This is due to come into force in 2023 and includes higher numbers of acceptances required. This leaves 2022 as the last year in which the old rules will apply. So, if you have your acceptance numbers ready by the beginning of September 2022, you will be able to apply under the old rules.

If you want to know more about gaining FIAP Distinctions, email me at ajbastion@gmail.com, and I will send you some information to explain how the process works.

FIAP News – Proofreader Required FIAP News is a bi-monthly online magazine, with articles from all over the world, something like our CameraTalk. The difference is that the submitted articles are written by contributors whose primary language is not English. These articles need checking and tweaking so that the English is correct.

This magazine is currently managed by Bronwen Casey, from Australia, and an editor in Italy who does the page layout. Bronwen is also the Liaison Officer for Australia and has a very busy schedule.

She is asking for someone who may help spread this load so that no one is overloaded, and the absence of a team member for any particular edition is not a problem. Each person's role would solely be to work with the authors to revise five or six articles. The aim is to have the articles in perfect English and have documents and accompanying images prepared for the editor with the most basic formatting.

If you want to know more about this or think you might be able to help, please contact Bronwen Casey fiapnewsdirector@gmail.com or me at ajbastion@gmail.com If you would like to view the latest FIAP News, click on this link. https://www.fiap.net/en/fiap-news

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Member Showcase Immediate Past President Moira Blincoe LPSNZ shines the spotlight on John Boyd Hon FPSNZ Hon PSNZ APSNZ in our Member Showcase series.

There would be few members of the Society with the depth of knowledge and history of the Society that John Boyd has. In my 12 years of service on Council, when discussions have floundered on historical specifics, John was so often mentioned as the one who would have the answers.

John is a longstanding and well-known PSNZ member, having first joined the Society in 1962, he says, ‘So that I could receive the bi-monthly NZ Camera magazine”.

Although he can’t quite remember the exact year, he thinks it was around 1957 that he joined his first camera club, the Alexandra Photographic Society.

Since then, because he was moved around the country in his banking career, he has been a member of the Dunedin Camera Club, Milton Camera Club, South Canterbury Photographic Society, Twizel Outdoors and Photography Club, Christchurch Photographic Society, Dunedin Photographic Society, Taupo Camera Club − and is now a longstanding member of the Wellington Photographic Society.

John was born with the “service” gene in his DNA, and throughout his photography journey, he has continually “given back”. He has served as a committee member, Secretary or Treasurer and was integral to the clubs' ongoing development and sometimes survival. He is a former President of the Society, a national and international judge, and has mentored many.

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In 1963 he became part of the newly formed PSNZ National Panel of Judges. In the mid-1970s, he became a member of the Senior Advisory Panel (of Judges), the forerunner to the Judge Accreditation Panel. In 2013 he became a member of the newly developed Judge Accreditation Panel launched by former President Shona Jaray APSNZ and completed two terms plus one year, totalling seven years.

John has also played a significant role in the history of the PSNZ Honours Board. Commencing in 1989, he served as a board member for five years, followed by seven years as the board secretary, and attended board deliberations on five other occasions. In 2012 he was appointed joint coordinator with Newell Grenfell Hon PSNZ FPSNZ FNPSNZ to assist the Board with administrative and marketing aspects. Although not a panel member involved in the assessment process, John ensured the board’s feedback and comments were documented, so they were appropriately included in the member’s result letter. Often, he would be up until 2.00 am, compiling the letters for the board chairman at that time.

In 2015 John was appointed as Patron of the Society, a role he has undertaken not just as a figurehead but as an active listener and advisor to successive Presidents and the Society.

Although John’s not sure of the total number of conventions attended, he says it’s ‘certainly over 50’, with his first one in Queenstown in 1964.

Over the years, John and Val were enthusiastic international travellers, but with the arrival of COVID, their wings were clipped, and they now enjoy seeing more of their own country. As John says, many great post-convention holidays have been shared with fellow members such as Newell and Jacqui Grenfell, Ron and Joy Willems and Bruce and Anne Burgess.

His photography speaks for itself, and he can boast a healthy list of awards accumulated through entering many national and international competitions and salons.

When one’s spouse is also a keen photographer, the passion is duplicated. Val has attended as many national and regional conventions as John has, takes lots of photos, particularly on trips, and has exhibited with some success over the years. John says Val is his most critical judge and ‘I respect her opinions’. In fact, ‘Val's probably had more images printed in NZ Camera than I have,’ he said.

With the arrival of a significant decade birthday last year, John quietly indicated that he wanted to make way for new blood to serve as Patron. He will step aside from that role later this year.

Finishing Touch

I know you are not going anywhere, John, but the Society thanks you for your contribution so generously made throughout your membership and during your role as Patron. The Society has greatly benefitted from this, and we are all grateful.

Please describe your first steps into photography.

Although I had access to a couple of cameras at primary school and bought another at high school to record tramping trips at the behest of a friend, photography was not my interest. For my first camera purchase, I had been taken to a local professional who had a small shop and studio at the back of his garage. He became my mentor, developing the black and white prints and eventually giving me a colour transparency film when I consistently refused to buy one because of the cost. As a result, he insisted that I go to the local camera club. The first night I went, I was entranced by the slides, which showed the Central Otago landscape in a way I hadn’t seen before.

What was your first camera purchase?

The first one was some sort of Agfa box camera, soon swapped for a 35mm Agfa Silette to take slides, and then, as passion grew, a Pentax S1a with a combination 135/225 Tamron telephoto lens. That served me for many years.

Morning Departure

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Member Showcase Did you shoot in negative film or slides?

Colour transparency.

Did you do your own printing?

From time to time, but never for competition. I was bullied into going into the darkroom in the ‘80s, when in Christchurch, to make a print to qualify for the “Printmakers”, a group of six amateurs and six professional photographers, the best known of whom was Andris Apse.

If so, in what year did you start printing?

What is your preferred genre?

I love all genres but mainly try to make landscape and maritime images.

What situations inspire your photography today?

Travel, domestic and international, weather conditions (e.g., fog, storms) and grandchildren’s sport.

Do you think your photographic eye has changed over the years?

Not really, but I have become more minimalist.

1966, when the house we bought came with a darkroom at the back of the garage. Dunedin mentor Ernie Ashby had given me a homebuilt enlarger.

14 Lake of Wandering Spirits - Natural Life

Idaho Tweed

How do you think being a judge influenced the members' photography in those early years?

I’m not sure that I influenced anyone, but the recorded commentaries of the Society’s founding judges, including Fred Bowron, Matheson Beaumont, Len Casbolt and others, certainly influenced me. In those days, competitions were the lifeblood of the clubs and were, for me, the incentive to make pictures. From Fred, I heard for the first time a judge expressing a personal interpretation of what a particular image meant to him − because it had broken the rules of composition as I understood them.

What is the most important thing photography has taught you?

motifs, incongruity, beauty − that I would never have seen and appreciated otherwise.

Which other photographers have inspired your photography, and why?

Many, many images seen in competitions and exhibitions have individually inspired me, but for bodies of work, Fred Bowron and Matheson Beaumont were especially inspiring because their images had a special simplicity and sensitivity. Most recently, Simon Woolf’s encouragement during the lockdown to take photos of our view of Wellington Harbour has led me to enjoy the simplicity of patterns of water which judges are very unlikely to admire. I have also found inspiration in exchanging images and comments with fellow PSNZ member Newell Grenfell Hon PSNZ FPSNZ FNPSNZ.

To see! Light, arrangements, patterns, repeating

Whispering Sands

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Member Showcase Do you think camera clubs in New Zealand have contributed to the growth and popularity of photography?

Absolutely, and they have been the nursery for many who have turned professional.

Do you think club photography has influenced a more “pictorial” approach to photography vs creative or fine art photography?

It did, and even the strong natural history interest in clubs tended to be encouraged along pictorial rather than scientific lines. I think that PSNZ helped clubs (and judges) move towards more creative work through the introduction of an “experimental” section in the National Exhibition and, in the same way, towards more documentary work through the introduction of photojournalism in the early ‘70s. While the range of work seen now in clubs is very much broader and includes some fine art, I do wonder if we should also be more encouraging of documentary images that will be of historical interest in the future.

Do you think the clubs provide the right environment for someone wanting to learn the art of photography?

Contest

Fish Story

I think that within clubs and their programmes there is a wealth of experience, knowledge and education that is invaluable for someone keen to learn, and many clubs are good at promoting these aspects. Unfortunately, not all clubs can attract new members and cannot compete against the other tuition opportunities available.

What’s in your kit today?

My primary camera is a Lumix FZ300 bought at the last National Convention, plus a polarising filter. It replaces an FZ70 which doesn’t entirely operate as it should and that in turn replaced a sequence of other Lumix bridge cameras.

There is also a 40-year-old tripod, sparingly used!

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Glacial Sentinal

Have you set goals for yourself through your photographic journey?

My only goal has been to enjoy my photography.

Over the years, you have given so much to PSNZ; what has PSNZ given to you, personally?

PSNZ has given me much more than I have ever contributed. Largely through judging, I have gained public speaking confidence that helped me enormously in my work life. It has also given my wife Val and me special and enduring friendships within a nationwide family by attending national and regional conventions and many other activities.

What advice would you give to a new photographer?

Join a club and get involved to get to know and enjoy the people. Enter the competitions. Learn about

judging because thinking about what makes others’ images successful is a huge help in improving your own.

What advice would you give to your 25-year-old self?

Ensure you don’t get too focussed on limited genres, and make sure you take plenty of your family because they grow up so fast. Back in the day, one camera loaded with transparency film was a constraint. In hindsight, I should have had a second camera.

Any other information about yourself you would like to share?

I would not have enjoyed photography as I have without the loving support and tolerance from Val and the kids. They had to put up with me sitting in a paddock for ages − waiting for the light to change or to act as figures in the landscape, and spend their holidays at conventions.

Evening Promenade

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Special Feature: Portrait photography Mark Chamberlain LPSNZ

What is a portrait? The dictionary definition is “a painting, drawing, photograph or engraving of a person, especially one depicting only the face or head and shoulders.” We all probably agree on this, but there are further nuances.

Portrait photography differs from reportage or candid street photography because there is a relationship between the subject and the photographer. For a photograph to be considered a portrait, the subject must be aware that they are being photographed. The relationship can be fleeting. ‘Can I take your picture, please?’ may suffice. Contact and a brief relationship are established. In contrast, there is no relationship between the subject and photographer in candid street photographs of people.

In this issue, two expert portrait photographers from PSNZ explain the relationship between subject and photographer in detail. One of our distinguished contributors, Scott Fowler FPSNZ EFIAP EPSA GPSA, goes further and explains that portrait photographs often say more about the photographer's soul or personality than the subject person.

Other basic pertinent questions relevant to portrait photography: 1) Should portrait photographs be only of the head and shoulders, or can the picture include the entire body and the background environment? All are acceptable. The background may be especially relevant, showing the person in the context of their workplace or a story. For a close-up photograph, the background shouldn’t distract.

2) Is eye contact essential in a portrait? For many photographers, the answer is not. Lack of eye contact with the subject gazing into the distance or towards an object can strengthen the photograph. Lack of eye contact may also add a feeling of vulnerability to a portrait. Regardless, the eyes or closest eye should remain in sharp focus.

Our two expert contributors give further tips and advice.

Scott Fowler, a portrait photographer and PSNZ Fellow, has run many courses over the years for the benefit of PSNZ members. He explains his process of making beautiful creative portrait photographs from concept to capture.

Paul Willyams APSNZ AFIAP MNZIPP, a long-established member of PSNZ and award-winning portrait photographer, gives expert advice on taking portrait photographs.

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Flying dress - Scott Fowler FPSNZ EFIAP EPSA GPSA

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The Lie is Real Scott Fowler FPSNZ EFIAP EPSA GPSA

Your vision for creative portraiture is unique. The look you want in your portraits, the depth of the shadows, and the amount or type of lighting you use are all your choice. Have confidence in your ideas, your vision, and remember that it takes time and practice to achieve the look you want. It’s taken me many years of practice to achieve what I create and capture.

As photographers, we put ourselves, our ideas, and even our assumptions into our work. We interpret and create what we’re thinking. At first glance, we imagine that great portraiture captures the very soul of the person being photographed when, in truth, it is more about the soul of the photographer. You, not the subject, decide the moment to press the shutter, and at that moment, that decision is cemented.

The more you understand how lenses and sensors behave, how light works, and the digital darkroom, the more you will be capable of creating wonderful portraits.

PLANNING Creative portraiture knows no bounds.

The lighting you use, depth of field, lens, outfit, location, make-up, and much more all play a part. And let’s not forget the finishing of the image in the digital darkroom: Is the image going to be part of a composite? Have you thought about lighting issues, perspectives, and subject placement in the background? Is it a stand-alone image, or perhaps an environmental portrait?

When considering a creative portrait, I go through a list of options. I write down my ideas — my vision. This process is called “storyboarding”. Write down all the elements that will be important for the success of the portrait: What is the vision I want to create? What is the subject of the portrait: hair length and colour, body shape and height? What location will I use, lighting, lenses, clothing, make-up and hair? What time of day — especially if using natural light? Will I need help?

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Write down as many of the different elements you can think of for your idea to be successful.

Creativity takes courage, limited only by your imagination and skill level. Fill a bag with clothes that might work in a location, find a model, then see what happens. I do this with new models to get to know them, see how they work, what kind of looks I can get, and try new ideas. Practise and play.

THE ELEMENTS Once you have your concept on paper and are happy with the initial idea, find the subject — let’s say a model. Contact them, give a brief outline of your concept, and ask if this is something they would be happy to do for you. Then meet to give them a more detailed outline of the idea, and check that the outfit/costume will fit. Ask if they have any concerns or worries and any ideas to make the concept a success. Talk about a model release and any remuneration.

Find your location and visit at the time of day you will be shooting, especially if it’s outdoors and you intend to use natural light as the primary source.

Ask yourself: will this location still work on a bright sunny day? Are there other options, if necessary?

If you are going to use artificial light for the shoot, what gear will you need, and will you need someone to carry it for you? Is there a place with privacy for the model to get changed? Will the make-up artist be with you on the day? Are there toilet facilities, and do you need permission to shoot at your chosen location? Keep your storyboard idea with you, and write notes as you go to help you remember.

Once you have everything on the list sorted, set a date and time ̶ and go for it.

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...The Lie is Real Scott Fowler FPSNZ EFIAP EPSA GPSA

ON THE DAY With creative portraiture, we need to get the subject to “become” the character we are trying to create. I see the models I work with as actors and actresses and spend time getting them into character; I become a storyteller.

You are trying to convince the viewer that the lie is real. An important part of making it real is the connection between the photographer and the subject in the image.

While the model gets changed and the makeup and hair are done, I check the lighting. Set up the lights, if using artificial, and make sure they are all working as you want them to. I usually spend the first 10 to 15 minutes with the model, capturing images primarily as test shots. I find that this allows us to relax, to get over any initial nervousness and to see that we are both working towards the same goal.

I then start to create the look I want. If I use artificial light, I will start with one light and build from there. If using natural light, I might use a reflector or two to move the light to where it needs to be — this is when another set of hands can be helpful. Regardless of the lighting setup, add a little as you go and check the image in the back of your camera often.

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... The Lie is Real Scott Fowler FPSNZ EFIAP EPSA GPSA

I use a tripod when doing a creative portrait shoot, as I want to get the sharpest image possible. I check my histogram to ensure that I have the information in the capture that I need for the digital darkroom. I check sharpness to make sure the scene is sharp where it needs to be, as well as perspectives; if this image is part of a composite, will the angles be correct; is there anything I don’t want in the scene? Then I start to look at finessing the image. Fixing what you can here saves time and effort in post-processing. Take your time.

Show the model your pictures as you go; they may have some good feedback for you. Remember to be encouraging.

Most important: have fun! If you and the model are relaxed and having fun, it will come through in the images.

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Portrait Photography Paul Willyams APSNZ AFIAP MNZIPP Portrait photography is a wonderful and very accessible genre of photography. No sitting in the freezing cold waiting for a landscape shot to unfold.

There are no precious hours to lose, hoping for a glimpse of an easily spooked animal. Your subject is at your bidding, and you can control everything.

Well, not everything all the time.

(This is just one reason people portraits and animal portraits should not be judged as one genre.)

But, the variety! Within portrait photography, you have genres such as weddings, babies, formal, street and many styles and treatments. A subject’s pose and expression change continually ̶ the human face has 43 muscles that can all relax or tense independently, giving billions of potential facial expressions. Think about the angle, the tilt of the head, the look in the eyes, the poses, the location, the lighting, and the environment.

So, how do I make successful portraits? First, by studying the genre, looking at a wide range of portraits (both photographic and painted), reading up on technical aspects such as colour and texture rendition, experimenting with lighting and trying many posing ideas. And I have shot and processed a lot of images just for practice. That all takes time and more space than permitted to explain it all.

Instead, I can give you a few pointers, tips, and things to watch out for.

The key to a portrait is expression. That will unlock the emotional response that you want the viewer to experience. Expression is usually in the face and particularly the eyes – the so-called “window to the soul” – but can also be found in the pose and sometimes the environment.

In this portrait of a cheeky kea, the expression is provided by the cock of the head (pose), the brightness of the eyes and their direct stare at the viewer. The colour tones and high key background also help. The expression is anthropomorphic – we don’t know what the kea is thinking, but we think we do because it looks like us.

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I immediately look for three things.

Focus should usually be on the closer eye (or eyes in this case as they are on the same focal plane). The depth of field is quite small but is enough that the beak is acceptably sharp.

The light is even with no disturbing shadows, and exposure is correct, with no blown-out highlights.

And the background is clean.

To recap, the overall approach I take for almost any photo is to: • Get a good background • Find good light, or make it good • Add my subject • Work out my focus point, framing and desired depth of field.

From that, I should be able to determine my positioning of camera, subject, background and lighting, focal length, and exposure and lighting settings.

Now, how do you obtain expression when photographing people? With the kea, I just watched and waited, and you can do this with portraits, especially portraits of children.

But with more inhibited adults, it helps to have a few tricks up your sleeve.

Plant a seed – an idea or story that the subject can build on. This can be drawn from real life or entirely made up. In the image of the young woman with the pounamu, we talked about some episodes in her life that spoke to defiance. Her mother said that was exactly what she used to look like as a child.

You can use props and costumes to relax your subject into a pose and create an expression.

It also gives the hands something useful to do. Hands can be a posing nightmare – using a tennis racquet, lamps, books, walking stick, anything at all. If you are working on a concept or story, this will be easier to incorporate.

Take the photo at the decisive moment – that instant when the subject has the expression you want. That’s a knack you need to acquire. Here’s a cheat: get your subject to tell you about something, like “I hate spiders” or “How I love my cat”. At the moment the words have finished being said, click the shutter. The last thing the subject is thinking will reflect in their expression for a split second. Try it – it works!

Lighting for portraits is a major topic but is well covered in a range of books and online resources. You do not need studio lights and modifiers, but they can be useful to give you more control and consistency. You do not need much extra light, but you should make it big and really close – closer than you might think. A small light turned up but far away (like direct sunlight or a spotlight) will give you hard, contrasty light and little falloff between your subject and the background. A big light source close by but turned down low (like an overcast sky or a light in a softbox or a reflector) will give you soft, diffuse lighting and gentle shadows, separating the subject from the background. That is what you usually want.

ABOUT: Paul is a member of Christchurch Photographic Society and a PSNZ member. He has achieved a PSNZ Associateship, is an accredited portrait Master Photographer with NZ Institute of Professional Photographers, and is an Artist AFIAP. He has won several awards over the last decade, includingl,

• Gold Medal, PSNZ Natex, 2020, with “Molly” • Gold Medal, PSNZ Natex, 2019, with “Hine ki te Pounamu” • Gold Medal, Maitland International Salon, 2018, with “Solemn” • Silver Medal, NZIPP Iris, 2018, with “Georgina”

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...Portrait Photography Paul Willyams APSNZ AFIAP MNZIPP The image of the young Irish woman was taken in a park at dusk, with a splash of light from a single flash bounced in an umbrella. The flash light didn’t make it to the bushes in the background; I only had ambient light. The flash was mounted on a stand and triggered off-camera.

When you are starting out, or trying to help someone else with their images, it is good to know the common reasons for portraits not working.

• It is not sharp where it needs to be, usually the closest eye, especially if the focus is somewhere else, like the tip of the nose.

• Blown-out highlights on the skin. Skin is typically a stop or two brighter than the mid-grey the camera is calibrated for, so it is easy to over-expose.

• Unnatural colour tones. This often results from adjusting for under-exposure, the wrong white balance, or reflected or filtered colours. Look for magenta casts and green tints from leaves. Note that the skin’s basic colour is orange, so adjust the Orange channel. In Photoshop, use the Gamma adjustment on the Exposure tool to make skin brighter or darker.

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• Dead eyes. Ideally, eyes have a catch-light; otherwise, they can look shaded and dead.

• Too much contrast, from hard lighting or overdone flash or shooting in “dappled light” ̶ it looks soft to the eye but goes all patchy in the camera.

• Over-processing. Try to get the capture right.

Skin should look natural and imperfect, not smoothed to a plastic blur.

• Not retouched where it shouldn’t be. Without going too far, a delicate balance removing stray hairs and temporary blemishes.

• Disturbing shadows. The nose's shadow looks good when it creates a soft patch on the cheek, but when it cuts right across the cheek to the shadow of the face, it looks awful. “Nose to the light, eyes to the camera” is a useful posing instruction.

• Background distractions. The classic is the tree (or fence or pipe or sign) coming out of someone’s head. Or, the background is included and in focus but doesn’t add to the portrait; hard shadows of the subject on the background.

• Distortion. The camera’s perspective can do weird things to the human body, especially with shorter

focal lengths. Arms can be shortened, big bulges appear, and faces look like they will explode.

• Cropping too tightly, or not tightly enough. You usually want all the head in the frame, with a little room to move, but not so much that you create negative space for no reason. You must also be careful where you amputate arms and legs.

• Hands and legs are not well-posed. Hands, in reality, are huge compared to the rest of the body and can easily look tense. A side-on view of the hands, looking relaxed, is what you want. Avoid shooting knee caps – they look ugly on most people.

• Clichéd pose. Don’t do the ”arms on hair with bikini” look.

• Static, squared-up pose. Work more side-on, separate the legs and arms from the body. Pose more radically than you think you should.

• Too much white in the eyes.

You want to see their irises, not the whites of their eye with a sliver of the iris.

Finally, here are a few words on how to conduct a shoot.

You should agree on your objectives for the shoot with your subject. Objectives include the use of images, approval process and payment. Exactly what this looks like will depend on the shoot – is it a family portrait for your parents or a commercial shoot with a professional model? It is a good idea to put this in writing.

Be exemplary in your behaviour during the shoot.

Even with family members, ask permission to touch them if you need to adjust something, and they can’t do it themselves.

Prepare and plan for the shoot. Know your gear, set up and test in advance. Follow up promptly after the shoot. Meet all your obligations to the subject.

• One for your mother. Some portraits are not for competition, even though they are lovely family snaps.

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LEICA. DAS WESENTLICHE.

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Learn more at Progear, Photo Warehouse or online at www.leica-store.co.nz

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PSNZ Workshop Series 2022 Workshop 1 – Forest bird photography at Bushy Park Tarapuruhi with Toya Heatley APSNZ AFIAP - 25th / 26th February Bushy Park Tarapuruhi is situated just 20 minutes from Whanganui and is a predator-fenced forest sanctuary.

In the sanctuary, you will find an abundance of birds, including hihi, tieke, toutouwai, kererū and tūī, to name a few.

The forest is full of bird song, and it is easy to find and photograph the birds. There is also a small wetland area with a boardwalk where pūkeko and kingfishers (kōtare) are plentiful.

The workshop will start on Friday evening at the Whanganui Camera Club rooms, with a presentation on photographing birds in low light situations without using flash. Toya will share tips and tricks that she has learned over many years of bird photography. She will go over camera settings and techniques, including shutter speeds, aperture, focus modes and much more.

On Saturday, we will head out to Bushy Park Tarapuruhi and spend the day putting what you have learned into practice. There are toilets at the park entrance, and most tracks are easy walking. There are a few steps on some of the tracks and some steep areas.

While a long lens is useful for bird photography, this venue allows us to get closer to the birds. If your biggest lens is a 70-300mm zoom, you will still be able to capture the birds in this forest setting. Toya will be on hand to assist you throughout the shoot.

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Audio-Visual News Trish McAuslan APSNZ EFIAP/b FAPS AV-AAPS AV Co-ordinator for PSNZ mcauslansav@gmail.com

Congratulations to those who were successful in the Jack Sprosen Trophy Competition for Audio-Visuals. I have asked the winners to share something about their successful AV. Sue Riach APSNZ ARPS AFIAP created I Am the Power of the Sea. This AV won the Music, Poetry and Song category and the Gold Medal for the winner of the Jack Sprosen Trophy. Sue also received a Merit in the Tauranga AV Salon with this AV last year. Here is how Sue describes her AV. The AV explores the dynamic nature of the relationship between the surfer and the sea. The sea is the force and power which the surfer uses to harness momentum, and the surfer’s skill is developed for every change that the sea offers. This is revealed via free verse poetry and narrated in the first person from the viewpoint of the sea itself.

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Liz Hardley FPSNZ EFIAP/s PPSA LRPS created Unfinished Business, which won the Documentary Category and received a Silver Medal. Here is what Liz said about her AV. I had been procrastinating over making another AV for a long time, and the Auckland lockdown last year finally provided the impetus and time to do so. I had taken thousands of images at the 2020 Auckland ASB Tennis Classic and decided to make that my topic. It was then a matter of narrowing the focus, which became Serena William’s progress through the tournament. To this end, I started shortlisting appropriate and technically sound images. I had some early ideas for the soundtrack (like The Final Countdown and Simply the Best) but eventually decided to err on the side of caution and look for copyright and royalty-free music.

Although it proved to be time-consuming, I finally found a piece of music that I felt could work. I was relieved to find that the ProShow Presenter software still functioned, and even better than that, I could remember how to use it. I wish I could say that the AV then all came together quickly and smoothly. However, it developed in fits and starts, and I almost abandoned it in frustration at one stage. It was only in the days before the deadline that it finally came into shape, and I was still tweaking it hours before it was due to be submitted.

However, I am now pleased that I made an effort!

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... Audio-Visual News Gail Stent FPSNZ created Library Point: Past and Present, which won the Theme category and received a Silver Medal. Gail reminds us that there are stories to be told in the places we visit often.

Every morning I walk my dogs at a local reserve. There is a piece of land jutting out into the water, which has always been a special place for me − it feels very spiritual and peaceful under the beautiful trees.

Library Point is steeped in history, so I decided to do an AV to delve into the past and include the present.

The start of my AV includes publicly available historic photos of Māori, superimposed over today's scenery and trees. I was concerned that I would be offending somebody by using these photos in the AV, so I consulted a local kaumātua who viewed the AV and assured me there was no offence. The AV then continues into the late 1800s with settler history, ending with current day usage of the reserve.

Jocelyn Barrett PSNZ SM created The Stripper, awarded a Bronze Medal. Here is what Jocelyn had to say.

The Stripper came about after receiving a pink feather boa as a mystery gift. I thought it was pretty useless, and feathers fell off it every time I picked it up to show anyone. Then I had that Eureka moment, and so The Stripper was born.

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Lynette Vallely APSNZ for Emperor Gum Moth was awarded a Bronze Medal.

This AV also won the World of Nature Category in the Tauranga AV Salon last year.

Lynette says this about her AV. I have many gum trees on my property in Whanganui and had often looked out for the Emperor gum moth to no avail. Then, this particular summer, I was surprised to find dozens on both my Eucalyptus globulus and Liquidamber styraciflua (also known as Sweet gum).

The images were taken over three months using my Canon EOS 5D Mark III.

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Info Board Judge Accreditation Panel Update Newell Grenfell is standing down as a panel member from the Judge Accreditation Panel, and we would like to take a moment to express our huge appreciation for everything that he has done for PSNZ. Newell has been a PSNZ member for many years. He came to New Zealand in 1977 and obtained his Associateship in 1991, followed by his Fellowship in 1994. He was made Hon PSNZ in 2008 and was on the Honours Board from 1996 to 2007, the last three as Chair.

Newell has served on the Judge Accreditation panel for the last five years. He has assisted many clubs over the years and shared his vast experience. We all wish him well for the future.

We are pleased to announce that Aliah Jan FPSNZ AFIAP MNZIPP has agreed to come on board the Judge Accreditation Panel, and we look forward to working with her. We hope to bring you more Judge Training Weekend dates as they are confirmed.

Caroline Ludford LPSNZ LRPS, Chairperson PSNZ Judge Accreditation Panel

Welcome to Our New PSNZ Members!

Coni Flores Annie Ribbons Libby Iremonger Glenys Steegh Julie Horlock Jack Horlock Diana Adlam Lois Barnett Shelley Harvey Jenny Mitchell Kirsty French Hazel Thomas Lynn Ferris Vandy Pollard Patricia Corkill Derek Finnigan Glenda Spackman Paula Vigus Ian Gillespie Paul Francis Flo Blyde 36

New Zealand Camera 2022 It is time to choose your very best images for selection in New Zealand Camera 2022, the Photographic Society of New Zealand’s flagship publication for the wider audience. It aims to showcase outstanding photographic images from members of the society.

Each PSNZ member can submit two images, but a maximum of one image per member will be selected.

The physical limitations of the publication mean that not everyone who submits will have an image published.

Selection is anonymous and everyone, new members included, has a chance to have their image selected and published.

The quality of the images in New Zealand Camera 2021 was outstanding, and we had a record number of entries submitted. We hope that this year’s images will be even better.

We will be welcoming entries for New Zealand Camera 2022 on the PSNZ website from 1 March 2022. You will find the submission form and terms and conditions of submission in the Members Area – login required.

Please ensure that you read the terms and conditions carefully as some have changed.

Entries will close on 31 March at 11.59 pm. Please don’t leave it until the last minute to enter!

Judge Training Weekends 2022 We are hoping to run four judge training weekends in 2022.

Auckland, 18 and 19 June 2022 at Bridge Club 121 West Hoe Road Orewa 0931 Taupo, Christchurch and Dunedin - date and venue to be advised We ask for a minimum of 20 people attending with a maximum of 30.

The cost is $25.00 for PSNZ members and $60.00 for members of affiliated clubs who are not PSNZ members in their own right. It is non-refundable if you decide not to attend.

Morning and afternoon tea and lunch are provided on both days.

To enrol, please go to: https://photography.org.nz/salons-galleries/judge-accreditation-programme/ These workshops generally fill up quickly so, if you wish to attend, don’t delay making your registration.

I am pleased to advise that Janet Munnings LPSNZ LRPS is taking over from me this year as Training Weekend Co-ordinator.

Shona Jaray APSNZ

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PSNZ Canon Online Photographer for the 2021 Paul Willyams APSNZ AFIAP MNZIPP, Canon PSNZ Online Coordinator

Congratulations to John Organ LPSNZ FAPS, the clear winner of the 2021 PSNZ Canon Online Photographer of the Year for 2021, having been selected in the top ten three times and winning one of those rounds. Although he now lives in Australia, he is still very much a Kiwi and values his New Zealand photographic honours.

John had three images in the top ten:

participants had one top ten placing, and only six had more than one. The standard is high and very even, making for a great competition (and challenges for the judges).

Gallery Catwalk, First in Round 3 Underwater Eyes, Third in Round 4 Contemplation, Fifth in Round 6 Overall we had 262 participants in the competition, about the same as last year. We had 895 entries, up from 754 in 2020 and 550 in 2019.

Like last year, success was spread out; 48

For more information about PSNZ Canon Online, look on the Photographic Society website under https://photography.org.nz/canon-online-submission/ Current results are at photography.org.nz/canononline-current-results

The top placings in the overall competition were John Organ LPSNZ FAPS Lia Priemus Glenda Rees

Points 30 24 21

Place 1 2 3

Jeanette Nee APSNZ Margaret Jones

21 20

3 5

The winners of each round were

Lindsay Stockbridge LPSNZ Gordon Speed John Organ LPSNZ FAPS James Gibson APSNZ EFIAP/b Allysa Carberry LPSNZ Margaret Jones 38

Round 1 2 3 4 5 6

Title Flow In the Arc Gallery Catwalk The Breach Self Portraits during a Breast Cancer Journey Checking my Feathers

Awarded Photos - Round 6, 2021 Congratulations to Margaret Jones who is the winner of this final round of Canon Online for 2021. There were 116 entries in this round. Margaret writes: “Thank you for choosing my beautiful gannet image. This image appealed to me with the detail in the feathers and eye as the bird concentrated on its task. I visited the gannet colony at Murawai in October just as the annual bird pairing and nest building commenced.

I moved from Canterbury to Auckland three years ago and joined the Howick Photographic Society. I’ve long had an interest in photography, but not the opportunity for it to be a serious hobby or learn anything in depth past auto. I thought joining a local club would be a great way to meet new folk and I was not wrong. Since that day my photography knowledge has soared as I embraced the learnings and competitions the club and individuals offered. I took on a committee role in 2021 to give back to a club that has given me so much since joining.

It was the Howick PS that introduced me to the Murawai gannet colony in my first year in Auckland along with other bird locations around the Auckland area. I am currently enjoying all photography genres but particularly nature with my macro and ICM.”

1st - Checking my Feathers by Margaret Jones 39

... PSNZ Canon Online. Awarded Photos.

2nd - Moody by Terry Molvik

3rd - Thank You by John Smart APSNZ

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4th - Kotuku in Flight - by Kelvin Aird

5th - Contemplation by John Organ LPSNZ FAPS

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...PSNZ Canon Online. Awarded Photos.

6th - Sunflower by Evan Davies LPSNZ

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7th - Channelling My Inner Richard Avedon by Sheryl Williams APSNZ

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...PSNZ Canon Online. Awarded Photos.

8th - Dewdrops on a Leaf by Pauline Smith APSNZ

9th - Wingdings by Deborah Martin LPSNZ 44

10th - Awaiting the Catch of the Day by Alan Goldby LPSNZ EFIAP

The judge for this round was Brian Eastwood from Whangaparoa, a PSNZ accredited judge.

Judge’s comments: Thank you for the opportunity to judge this round of Canon Online. The was a variety of subject matter in different genres entered, that meant that selecting just 10 images from the 116 entries was always going to be difficult.

My selections are based on the impact the image made on me. When I am assessing an image, I am looking for an emotional connection or reaction, a communication between me and the image. A good story that’s told when the photographer presses the shutter button, and how effective the supporting elements, like good composition and technique are, and how they relate to supporting the story.

I am originally from England where I was introduced to photography at school progressing on to a career

in the photographic industry. I came to New Zealand in 1973 and continued to work in the photographic industry. In 1996 I started my own photography business, which was dedicated to digital capture rather than film, this was possibly one of the first digital photography studios in New Zealand.

While I enjoy all genres of photography, I am drawn to water, favouring coastal photography, mainly of the seashore. When I'm standing on the seashore, I'm attracted to the many moods of the sea, peaceful and calm one day and rough and angry the next.

It's these feelings I try to bring to my photography. I like simplicity, an uncluttered image full of light and space. I can't see any point in including an element in my photograph that doesn't contribute to the story or support the main subject.

I am a retired member of the NZIPP (New Zealand Professional Photographers Association), where I obtained the distinction of Master of Photography (MNZIPP). As a member of PSNZ I have enjoyed success in many national competitions.

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HELPING PHOTOGRAPHERS GROW

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