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 2019

 In this issue
WELCOME TO THE second edition of CameraTalk for 2019. April
PRESIDENT marks the most important month in the PSNZ calendar with the
Moira Blincoe LPSNZ
t. 09 379 7021 National Convention and the PSNZ Canon National Exhibition
e: [email protected] being held in Lower Hutt.
VICE-PRESIDENT
Karen Lawton
In this issue, in addition to our normal features, we have a special
t. 021 143 7764 section on street photography. We highlight the top clubs in
e. [email protected] the four interclub competitions, we learn about changes on
TREASURER the Honours Board, and we show you the top images from the
David Knightley secondary schools photographic competition that is supported by
PO Box 99470, Newmarket, PSNZ.
Auckland 1149
e. [email protected]
April is also a crazy month with both Easter and Anzac day
SECRETARY following each other not to mention the school holidays. If you are
Patrice Nilsen travelling over these periods then please be careful out there.
8 Raroa Terrace, Tawa,
Wellington 5028
t. 04 232 1565
e. [email protected]
Paul Whitham LPSNZ
EDITOR, ADVERTISING &
Editor Obituary: Jean Bygate 4
LAYOUT
Paul Whitham LPSNZ
PSNZ Councillor
Editorial 5
t. 04 973 3015 or m. 021 644 418
e. [email protected]
PSNZ workshop series 6
SUBEDITOR Canon Online results 8
Lindsay Stockbridge LPSNZ
Street photography special
14 Poynter Place, Whanganui 4501 14
t. 06 348 7141 or m. 027 653 0341 feature
e. [email protected]
Southern regional salon 24
Hutt2019 update 26
CAMERATALK DEADLINE
Moving on from the Honours 30
The next CameraTalk Board
deadline is
Audio-visual notes 32
1 June 2019
KCC 50 years of photography 34
Email your contributions to the Sub-
Editor at his email address. Editorial Judge training 36
should be sent as Word or .txt files. JPEG
images generally should be saved at 300
dpi, compressed to high to medium
On the cover Salon updates 38
quality. Include return postage if you wish
material to be returned.
Reality and fiction by Mary PSNZ Interclubs 41
Livingston LPSNZ.
NZSSPC: Year two 66
The opinions expressed in this newsletter are
not necessarily those of the Editor or of the
Council of PSNZ.
North Shore Salon 70
Key dates for the diary 72

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IN THREE SHORT weeks many of us will be
gathering in Lower Hutt to attend the 67th
annual PSNZ national convention ‘Focus on
Learning’.

Two years ago when the Lower Hutt

Camera Club committed to hosting this
year’s event, 2019 seemed so far away. In
the ensuing years the organising committee
has worked incredibly hard and remained
committed to their vision of bringing you a
convention with a real emphasis on practical
From the
learning and enhancing our skills, from some
of the country’s most talented specialist
President’s desk...
photographers.

I’m very excited about attending the During the national convention, we will host
convention. It is being held in a state-of-the- our Annual General Meeting on Sunday, 28
art architecturally designed convention centre April and if you are attending the convention
that will accommodate our needs for break I encourage you to attend this meeting.
out rooms, plenary sessions, a trades hall and Historically, attendance by members has
exhibition space, perfectly. The programme is not been that great, yet this is the time for
set, the stage is ready, our trade partners are members to be able to put their thoughts
eager – bring on 26 April – I’ll see you there! forward to Council. The most important
item on the agenda is the recommended
It is also hard to believe I have almost adoption of the revised Constitution.
completed 12 months as President. Some Hundreds of hours have been given by many
days I feel as if I have not achieved much, such people into reshaping this document, so your
is the quagmire of emails, phone calls, fighting support and commitment to completing the
the odd fire. In reality I have learned a lot in process is much needed and appreciated.
these 12 months and on reflection there have
been a number of significant items achieved. It is always time to enjoy the success of
I am ably supported by a well oiled team of many of our fellow members and peers
Council members and I thank them for their by celebrating the successful authors who
hard work and ongoing support. achieved their respective honours award at
the CR Kennedy Honours Banquet.

(continued overleaf)

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 And it is always rewarding to view the collection of successful images selected to form the PSNZ
Canon National Exhibition. Congratulations to all the successful authors - and I can’t emphasise
enough how worthy it is to even have one image accepted, let alone an honours ribbon or medal
and trophy. The standard of photography continues to increase year by year, making it an even
tougher task for the selectors.

Finally, thank you again to all the volunteers who have contributed any amount of time during
the past 12 months to help make the Society function smoothly. Without your commitment we
would not be able to deliver the level of services provided.

Remember, my virtual door is always open – until then, I’ll see you at Hutt2019.

Kind regards

Moira Blincoe LPSNZ

President

Obituary:
Jean Bygate HonPSNZ
by Roger Brownsey HonPSNZ FPSNZ

Jean Bygate passed away on 17 March 2019. She was PSNZ

President for two terms from 1986 to 1988. She was
awarded HonPSNZ in 1998.

Jean was a very able administrator and was a key member

of the Taupo based Light Photography Group which
conducted mid-winter weekend photographic workshops
from 1982 to 2003. Jean made black & white prints in her darkroom and then moved to audio-
visual presentations from the late 1980s.

Those who knew her have lost a friend. We will miss her infectious good humour and her
willingness to help others make progress in photography.

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Editorial : Should you
take the shot
By Paul Whitham LPSNZ

A number of years ago my wife and I took a

road trip all the way up to Cape Reinga and
spent a number of days in Northland. Among
other things, I like to photograph old broken
down buildings. Based on all the stories I had
read about Northland, being a depressed part
of the country, I was sure that I would find
many of them.
the family had been living in the relative
The reality was that I saw very few buildings safety of a Pakistani camp for more than
along the way and in fact on the way home two years. The look had more to do with
going through Taranaki, supposedly a much the breach of the girl’s customs. She was in
wealthier area than Northland, we saw lots an all girls classroom when Steve picked her
of old buildings. I decided not to photograph out, because of her eye colour, and despite
the buildings that I did find because I thought the fact that her culture was not to appear
that in doing so I would misrepresent the true in public without a full face covering, she was
nature of the area.

We are bombarded by photos every day, but

when a single photo, or a collection of them,
exists in isolation it is very easy for the true
situation to be distorted. Therefore, does the
photographer have an obligation to ensure
that it represents the area, or is anything up
for grabs?

There has been a flurry of activity recently

about Steve McCurry’s most famous image of
the Afghan girl. This is one of the most iconic
images of the 20th century and was certainly
the image that launched his career. It is a
fantastic image that any portrait photographer
would love to capture. When it appeared in
National Geographic, the caption said that it
was the look of despair due to years of war.

It has been claimed, now, that nothing is

further from the truth. While she was a
refugee from Afghanistan, the war the family
had fled from was long ago for this girl, as

5
 photographed. The look on the face is not one of despair, it is one of fear of the photographer
and the situation she was put in.

Now many of us may think that we will never be in a situation where we are faced with a
dilemma of whether is it appropriate to take an image or not. I would suggest that this is not
so remote. If you live in a major city, you see people begging every day. In many cases their hard
living is etched in their faces, and quite frankly they would make brilliant photographic subjects. I
have judged photo competitions where I have seen such images, and they can be very powerful.

But is it right to take their images, often without permission, simply to use them for your own
hobby? Personally, I think not.

Workshop registrations are pouring in!

James Gibson APSNZ, Councillor for membership, reports

I’M REALLY EXCITED to see the registrations coming in for the Workshop Series – Bruce
Girdwood’s workshop has filled, and we’ve organised an additional boat for the Okarito Tour
on Sunday morning as so many people are keen to experience the magic of Okarito. There are
plenty of spaces remaining on the other workshops and we are keen to give as many PSNZ
members as possible the opportunity to learn from experienced tutors and come away from a
fun day with new skills and great memories!

• Improve your photoshop skills and techniques with Helen McLeod FPSNZ in Blenheim – a
fun and hands-on day, making images with your camera and the computer (15 June).

• Experience and capture the night skies above Taranaki with Leith Robertson (6-7 July).

• Learn creative lighting techniques in a studio environment with Scott Fowler FPSNZ in
Ashburton (10 August).

• Make your images stand out, learning the techniques to create stunning fine art prints of
your own images with Shona Jaray APSNZ in Kerikeri (14 September).

A few members have put their hands up to offer their help with the workshops next year and
I’m very grateful to you all. Over the coming months we will be planning the 2020 series, based
on your comments and feedback from this year’s events.

With all things, the more you put in the more you’ll get out - so get involved: sign up for a
workshop, enter a competition, help out at your club or with PSNZ, but most of all, have fun
learning!

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7
 PSNZ Canon Online Results from Round 1, 2019
OUR JUDGE FOR this round was Neil Gordon APSNZ. Though he retired from MetService in
2011, he remains passionate about meteorology. His images often feature the sky and clouds,
including his 2015 “Painted Skies” APSNZ set. Having won the Laurie Thomas Landscape Salon
in 2013 with one of his first photos on a new Fujifilm X-E1, he migrated from a Canon DSLR to
Fuji mirrorless and currently enjoys using an X-T2. (Not that it’s about the gear.) Neil is a past
president of the Kapiti Coast Photographic Society, and a former PSNZ Councillor.

Entries for the next round of the 2019 Canon Online competition close on 25 April. Entrants
must be financial PSNZ members. Images must be uploaded via the PSNZ website and sized
1620px wide x 1080px high maximum dimensions.

James Gibson APSNZ EFIAP

PSNZ Canon Online Coordinator

Comments from the judge: Neil Gordon APSNZ

This is the first time I’ve had the privilege of judging Canon Online. While enjoyable, it was
quite a challenge to choose the top ten, let alone rank them. There was a huge variety of genres
and styles in the 115 entries. I found it relatively easy to choose my top twenty or so, but a lot
harder to narrow it down after that. I sought images that had an enduring engagement for me,
well beyond their initial impact. Congratulations to the winners for their success, and thanks to
all for entering.

8
1st Flamingo by Lynn Fothergill LPSNZ

What beautiful textures and soft colours, with

the flamingo balanced on its thin and almost
impossibly long legs. I like the use of a clean black
background to make the bird really stand out.
My eye goes back and forth between the body
and the head, enjoying the textures. And I can’t
help but smile at the comical appearance of the
upside-down beak. Exquisite.

2nd The final forehand by Liz Hardley

FPSNZ EFIAP/b LRPS

I I can feel the power of the shot, with the

bulging veins in the player’s arm, and the
oval shape of the ball indicating how fast
it must be moving. I love how the sloping
lines and the strong diagonal shadows add
to the sense of drama and power. Then
there is the delightful surprise of noticing
the shadow of the flicked shoelace –
another indication of fast action.

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 PSNZ Canon Online:
3rd It is a happy talent to know how to play and imagine by Rebecca MacDonald APSNZ

I can’t stop smiling at this. The boy looks so happy, imagining he is splashing in the shallows
with his elephant friend. It’s beautifully composed. The texture, and use of colour on the non-
imaginary boy only, gives a dreamy feel to the image for me.

4th Hand in hand by Noline Skeet

I can almost hear the two girls giggling happily together as they skip off together in the summery
field of long grass, with the warm setting sun on their faces. My eye is immediately drawn to the
sun, then explores the gorgeous backlighting of their hair and dresses.

10
5th West Coast by Judy Stokes APSNZ

I feel like I’m looking through a portal into another world. A lone nikau palm dominates the
scene, standing tall against the wind, while green hills slope down to the sea with a bay in the
distance, and the ever-present west coast cloud is rolling in from the sea - ready to dump the
next lot of rain on the mountains.

6th Tribal by Julia Home APSNZ EFIAP BPSA PPSA

Those huge eyes staring at me are magnetic. I love the use of vibrant colours and rhythmic
repetition of lines everywhere. The blur of something moving in front provides me a sense of
mystery. I keep returning to the eyes, drawn in by the leading lines, and then explore the face
and the echoing shapes.

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 PSNZ Canon Online:
7th Get a grip by Graeme Skinner LPSNZ

I find this image disturbing and compelling. The hand grabbing the skin is sharp and detailed,
with just enough of the body shown to reveal (I think) that this is a woman. The image raises
many questions about the anguish that she may be going through, with the title hinting at
depression. What if anything is the meaning of the tattoo? Very powerful.

8th Young love by Susan Kane LPSNZ

What an extraordinary connection between these two. The image is sharp and clear on their
faces, with every laugh line and wrinkle suggesting a happy life well lived. While the defocused
background is busy, I don’t find it too distracting; if anything it helps to show that the couple
only have eyes for each other, and couldn’t care less about everyone else around them.

   

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9th High rise by Bill Hodges APSNZ EFIAP

I feel like I have a crick in my neck from looking up. The buildings tower imposingly over
me. I appreciate the careful attention that has been paid to lines and edges, and the strong
graphic design. The small, lone tree on the balcony appears defiant to me, in the midst of the
overwhelming manmade concrete and glass.

10th The leap by Roger Ball

A perfectly frozen moment of time on a hot day in Wellington. I enjoy how the leaping boy’s
shape mirrors the angles of the Te Papa structure behind him. My eye goes back and forth
between him and the boy watching him, and then wanders off to check all the other people to
see if they too are watching, or just doing their own thing. Lots to explore in this image.

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 Street photography - special feature
Street photography is all about shooting the everyday life we see all around us. In this special feature
New York photographer Dave Beckerman shares some tips and techniques. Dave very kindly gave us
permission to reproduce his article in CameraTalk. In the interest of space we have trimmed the article
down a little. To see Dave’s work go to https://david-beckerman.com and you can find the full article at
https://www.picturecorrect.com/tips/street-photography-tips-and-techniques/

Dave’s article used photographs from other photographer whose work we had not sought permission
to use; therefore they have been replaced with images from Mary Livingston LPSNZ and Paul Whitham
LPSNZ.

Image by Mary Livingston

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Street photography - Tips and techniques
By Dave Beckerman

WHEN YOU’RE GETTING started the The psychological and moral issues
challenge is overcoming the fear of taking
pictures of strangers. Since telephoto lenses The first thing to accept is that you are
are not normally used in street photography, invading the privacy of your intended subject.
how can you stand a few feet from your You may have the best intentions in the
subject, put the camera to your eye, focus, world, but once you decide to point your
and click the shutter - without getting camera at someone without permission,
nervous? A good street photographer is not you will be invading that person’s personal
only fearful in the beginning (this is a good space. This is what it means to take a candid
sign of being sensitive) but will also not want street shot. Before going into the physical
to do anything which will change the way the techniques which can make your job easier, it
subject is behaving. is important to look at your own motives.
With practice, you can overcome your Most of the time, you see something that
reluctance to photograph strangers as well you simply want to share with the rest of the
as learn techniques which will help you take world. It might be funny, odd, mysterious, have
better candid shots. an interesting design, or any other quality
that you think is worth shooting. But you are
One word of caution – it can be addictive. nervous about taking the photograph.
After a while the street photographer will
choose which seat has the best view in a This is normal. When you are just starting
restaurant, or which side of the street offers out, ask yourself whether you would take
the best possibilities. the picture if you
weren’t afraid of
your imagined
consequences.

This may seem

drastic, but pretend
that this is your last
day on earth, and
that nothing else
matters but getting
this shot.

Take a deep
breath and after
learning the various
techniques listed
over the next pages
– you should be
ready to get at it.
Image by Mary Livingston

15
 Dress the part Start off like everyone else. Take pictures of
the landmark. Keeping the camera to your
You’ll be headed out to a tourist spot, so eye you can now scan through the crowd for
dress like a tourist. I’m not kidding. Although something interesting. As you take pictures, do
you may have lived in your city for 50 years, not remove the camera from your eye after
get yourself a tourist map and dress like you have the shot you wanted. Continue to
you have just arrived from the mid-west on move the camera around, pretending to take
vacation. I’ll leave that part for you to figure pictures. Never give away the fact that you’ve
out. taken someone’s picture by removing the
camera from your eye after taking the shot.
Visit a crowded tourist attraction where
everyone has a camera. Dress and act as just You may not find anyone worth shooting, but
another tourist. Study your tourist map. Gawk this is an easy way to get started. It shouldn’t
at landmarks like everyone else, and keep an be very scary, and you will find that even while
eye out for interesting subjects. standing very close to your subjects you can
take their pictures without arousing suspicion.
Do not remove your eye from the camera You can employ the same techniques at street
after taking your shot! fairs, or parades. Just about any crowded area
which is filled with tourists is a good place to
practice.

Image by Mary Livingston

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 Image by Paul Whitham

Keep both eyes open; turn off the LCD!

what’s going on behind you.

Keep your non-shooting eye open.You should Knowing what is happening behind you is
be able to look at possible subjects even with useful in a street where people are moving
the camera to your eye. Most DSLR cameras around because you can estimate the distance
have an LCD screen for viewing images on to the potential subject when you turn
the back. This should always be turned off. around, and have your camera pre-focused for
that shot. Of course you’ll need to gauge how
You just don’t want the LCD coming on while fast they’re walking towards you, and about
the camera is to your eye. It’s annoying and it where you’ll turn around and snap. But again
gives away the fact that you’ve taken a shot, – as you turn keep the camera to your eye
especially in a dark location. Also, if the LCD as if you are just looking around.You will be
is off, and you hold the camera a little in front surprised at how easy it is to take a picture
of your face, you can see the reflection of when the subjects are five feet or so from

17
 Shooting from the hip vs having the camera to your eye

you - without them knowing. photographer is to rely on hyper-focal

distance. I don’t think this is so necessary
As a general rule, if you can shoot with the with modern auto-focus cameras, but the idea
camera to your eye, you will do better. I know is that with a wide lens, in the 30 – 35mm
there is an entire school of shoot-from-the- range, you can set the lens to f8, if you have
hip photographers, which you can practise enough light, and set the focus at ten feet, and
as well, but you will never be able to frame know that everything from approximately
this sort of shot as well as with the camera six to 15 feet will be in hyperfocal distance.
to your eye. (That’s my own opinion and of (I’m not looking at a lens as I write this, so
course open to debate.) There will be times the exact distance and f-stop may be off, and
when it is impossible to shoot with the most modern autofocus lenses don’t include
camera to your eye, and so shooting from the a hyperfocal scale. For older cameras with a
hip is worth learning, but I don’t think it’s a hyperfocal scale on the lens, this is a tried and
good way to get started. true technique.) I just haven’t found it to be
necessary with modern auto-focus cameras.
You need to make decisions about depth-
of-field. A common technique for the street

Image by Paul Whitham

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Pre-focus
With many modern cameras you can assign
focus lock to a button on the back of the
camera and exposure to the shutter button.
You anticipate that you are going to shoot
a certain subject, and hold the back button
down to focus on them, but maybe you aren’t
ready to take their picture yet and they aren’t
moving much.You can continue to hold that
back button down until you are ready to take
the shot, or you can turn the lens to manual
focus while holding the button down. Then
you can release the button and know that the
focus remains the same. Don’t forget to turn
autofocus on the lens back on when you’re
finished or all your subsequent shots will be
out of focus.

Modern cameras have a matrix of focal

points; it’s a big selling point. But they are not
very useful for street photography. I would
recommend turning them all off except for
the centre focal point, which you’ll use for
pre-focusing. I don’t like the idea of having the Image by Paul Whitham

camera decide what to focus on.

Suppose you’re walking down a street and Having a friend along

you see a bunch of subjects leaning against the
building to your right.You know that you are This technique goes back a long way in the
going to turn and face them, take your picture history of street photography. Walker Evans
and then walk on. The distance between would bring a woman friend along with him,
you and any building directly to your right and stand on a crowded street pretending to
is the same.You focus on a building to your take pictures of her. She was a decoy, and he
right before you arrive at your subjects and would move the camera so that she wasn’t in
lock that focus. Now, as you approach your frame and take pictures of the people behind
subjects, you turn to your right and take your her.
shot without the need to focus.

19
 Tougher locations
When Walker Evans did his series of subway
“portraits”, he used a Rollei twin lens camera.
You look down at the ground glass to focus
and compose. Evans used a cable release
which he ran up the arm of his coat. He put
the camera on his lap, sat directly across
from his subject, and kept his right hand in his
pocket to operate the cable release.

He knew ahead of time, what the distance

was to his subject. If you are shooting on the
same subway line, the trains are always the
same dimensions. If you don’t have a camera
with auto-focus, you know the distance
between different points.

Evans had one problem with his setup. After

taking his shot, it was very obvious that he
was advancing the film to the next frame.
He would usually get up and settle down in
Image by Paul Whitham
another car with a new frame loaded.

Although the subway is a difficult place to And even if you are seen, people will
shoot, it has one advantage: it’s noisy. There’s understand that you have your camera out
always enough noise to drown out the click of if you take a few shots of the mariachi band
the shutter. I have taken thousands of pictures as well. This is the same technique as using a
on the subway with the camera to my eye landmark as a reason for taking pictures.
without running into any trouble other than
the occasional nasty stare. However, before Another modern phenomenon which makes
the camera is raised to your eye it should life easier for the street photographer is
already be focused. This rule is true for most that everyone, whether on the street or in
street shots. a subway car, is already distracted by their
iPods, cell phones, e-books, and Blackberry
You can focus on your subjects when they devices. One day I was on the train, and
aren’t looking; set the camera lens to manual noticed that everyone around me had
and wait for “the moment” if it ever happens. earphones, or were reading their email.
Whether on a train, or in some other Combined with the noise of the train, I was
location, the easiest time to shoot is when able to take closeup shots of a passenger who
there is a distraction. For example, when was about a foot and a half away from me
the mariachi band enters the car, everyone without being noticed by anyone. I found that
will be looking at them.You can shoot other amazing. It wasn’t like that ten years ago.
passengers without being noticed.

20
Don’t throw anything away think they’re not very good, don’t toss them.
Given the inability to describe what makes
No matter how you try, and no matter how a good street shot, you shouldn’t throw any
good your street technique is, most of your away. Even an out-of-focus shot might have
shots will be ordinary.You might come back something interesting in it when you have
after a day of shooting with nothing to show enough distance to judge it.Your may find
for it.You may feel non-productive. something in a shot that appears boring when
you look at it again a few years later. I never
Street photography is like fishing. If you enjoy delete digital images.
fishing, the catch is important, but the entire
experience of getting up early and making
many fruitless casts from your boat isn’t non-
The oblivious people
productive.You may enjoy the experience
whether you return with fish or not.You Street photography is easier than it used to
simply can’t cast your rod and expect to catch be. People in the city walk around with their
a fish every time. senses clogged up. More people are oblivious
Your best street catches make up for all the to what is going on around them than ever
uninteresting shots. Unlike fishing, you can’t before. Music is blasting in their ears, or
always tell immediately if you’ve caught a they’re talking on their cell phones. If they’re
great shot. Many street photographers will let not talking on the phone they may walk the
their captures sit for a while before looking streets while reading their email. This makes it
at them. Don’t throw anything away! Make easier to photograph a stranger without being
backups of your images, and even if you noticed.

Image by Paul Whitham

21
 However, street photography is harder than then you could offer to delete it for them –
it used to be. Since we live in an age of urban and don’t play any tricks. Delete it while they
terrorism and web postings, people and the watch. If it’s a great shot and you want to
police are more suspicious than ever. This keep it, then you’ll have to win them over. If
suspicion extends to landmarks and property. you were using a film camera you could just
The subways and the streets are filled with shrug it off and say “No.” But everyone knows
video cameras watching your every move. that you can,show the picture on the back of
While you take your photographs, most likely the digital camera.
you too are being photographed.
Most of the time, the person is flattered
and wants to know if you would like to
take another shot. At this point they almost
Asking permission always strike a pose, and you take the picture
knowing that you won’t use it.You aren’t
Photographers who are starting out want
a war correspondent.Very few images are
to know if it’s a good idea to ask permission
worth getting into a big hassle over. In all
from your subject. It would be nice if you
my years of shooting, the worst that’s ever
could, but it isn’t practical. Once you strike up
happened is that someone asked if I would
a conversation with your subject, you are no
please delete their photo. I think this has
longer doing street photography. From that
point on, the person will strike a pose, and happened twice out of ten thousand shots.
you will be doing what I call street portraits.
Should you obtaint a model release? Unless
you are doing street portraits, it isn’t
practical. On any given day, you may
take 100 images, only to find one
good one. It would be impossible to
ask each person you photograph to
sign a release. Many of your shots
are of people who rush by you in a
fraction of a second.

What to do if you are caught

At some point you will be caught,
and your subject will approach you.
Maybe they say, “Did you just take my
picture?”

Honesty is the best policy. The

answer is, “Yes.” You smile, and try
and explain what it was that you
found so interesting about them.
With a digital camera, you can show
the image on the back of the camera.
The person may then be annoyed,
or they may be flattered. If they are
upset, and the picture isn’t that great,
Image by Paul Whitham

22
Finally
Give yourself time to get used to the experience. Expect to be nervous in the beginning. Also
expect that after you’ve been at it for a few years these techniques will become second nature.
I think that being nervous is actually a good sign. Anyone with some degree of empathy will be
uncomfortable doing street photography in the beginning. If you are the type of photographer
that begins by sticking your camera in the face of strangers, it is doubtful whether you are
sensitive enough to be a good street photographer.

Image by Mary Livingston

23
 Southern Regional
Salon 2019

Salon entries open on 10 July 2019

and
Close on 22 August 2019

The Salon is open to any PSNZ member or member of PSNZ affiliated organisations and clubs
in the Southern Region
Members from outside the Southern Region can also enter provided they are registered to
attend the Southern Regional Convention in Invercargill

Print and Digital Categories

� Open
� Nature
� Photojournalism
� Creative

Think Shoot P la n Create Enter

24
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25
 26-29 April 2019
Lower Hutt

It’s the final countdown to HUTT2019!

As we write this we are entering April, and the countdown to convention is now being
expressed in days and not weeks. The committee is putting the final touches to what we hope
will be a stellar event. We have scoured the Hutt Valley for the best locations, trekked into the
hills looking for fungi, sorted out the food, and had practice sessions to ensure that everything
goes to plan. We are even praying to the weather gods to play nice on the weekend.

For those not registered this is your last warning. Registrations will close on 10 April, and no
registrations will be accepted after that date.

A fine line-up
They say a picture tells a thousand words, so looking at the line-up of top New Zealand
photographers who will either speak, present workshops or lead off-sites, is a truly impressive
sight. Included in the group are five brand ambassadors.

Get ready to buy

We are pleased to announce that Photo Warehouse will
be joining the convention. We have been told that they
will have their trade-in specialist on site. If the new gear
appeals, you can get an instant quote of what your old
gear is worth.

26
27
 Watch those emails
Coming out around the same time as CameraTalk will be the last regular email that we will be
producing. The following weekend (Saturday 13 April) we will be sending out a series of emails
containing all the important information on what you need to bring to make your experience
better.

Please make sure that emails coming from [email protected] do not end up in your spam
filters.

Our YouTube channel

If you haven’t already, do a search for HUTT2019 on YouTube and you will find our channel. We
are using this channel to introduce the programme and presenters to you. There are 27 videos
loaded on there. The latest was a refresher on what the venue looks like.

We’re looking forward to seeing you

The whole convention team is working really hard to bring you a high quality event and after
nearly two years of planning, we are really looking forward to seeing you all on the 26th.

Chris Parkin APSNZ, Toya Heatley APSNZ, Paul Whitham LPSNZ, Helen Westerbeke FPSNZ, Don Hogben

28
29
 Moving On from the Honours Board
By Moira Blincoe LPSNZ

As with all things in life all good things come to an end! Sadly, for three members of the
Society’s Honours Board, that’s what has happened following the assessment of the 2019 PSNZ
Honours Awards.

Bruce Burgess FPSNZ has retired from the role of Chair, Secretary Heather Harley APSNZ has
closed her files and panel member Bob McCree FPSNZ has completed his three year term.

Some decisions are hard to make as was the case for Heather and Bruce. Both have said that
after the number of years’ service they have contributed it was time to move on.

Having spent eight years on the Honours Board including the last two as Chair, Bruce’s tenure
was up and he said it was time to let ‘new blood’ join the board. He said that during his tenure
he has been impressed by the continuing climb in the standard of photographic works.

Sadly Bob was not able to make it to Nelson for this year’s assessments due to an unexpected
health interruption. He was greatly missed but it is good to know he has made a complete
recovery and is back on track. Former Board member Graham Dainty FPSNZ was called upon
to step in and once again made a valuable contribution.

Heather became the Honours Board Secretary in 2014 and quickly immersed herself in setting
up systems and processes to ensure the Honours Board could operate smoothly and without
hiccups. It would be fair to say that Heather organised most of the board members as well.

When Heather assumed the role, the assessment weekend, which is always held at the
beginning of March, moved to Nelson where she is based. Naturally Heather then called on
fellow members from the Nelson Camera Club to assist her over the course of the three days
of judging. Handling up to a hundred or so photography boxes, crates and more requires many
hands, as does the unpacking, presenting the prints to the panel; removing them once assessed
and packing them up again is delicate work.

It was apparent early on that Heather could organise an extremely efficient system for
cataloguing the submissions, moving the boxes to and from the judging venue and despatching
boxes to either the national convention or the authors, following the judging.

While many Nelson Camera Club members have helped Heather at various times, there’s a
handful who have supported and worked with Heather since 2014.

So, farewell to Don Pittham FPSNZ ANPSNZ, Beryce Vincenzi, Peter Wise FPSNZ and Trevor
Rees for acting as handlers, packers and AV projectionists for the past five years. Thanks also to
Heather’s son Craig Harley and daughter Janelle Power who have assisted Heather since day
one. Without them, organising and hosting these key events in the PSNZ calendar would not
happen.

30
Looking to the future, Bruce Girdwood FPSNZ assumes the role of Chair while Stephanie
Forrester APSNZ steps in as Secretary. With Stephanie based in Invercargill the Honours Board
will meet in Invercargill in 2020.

On behalf of the PSNZ Council and members, our gratitude and thanks to you all for doing a
fantastic job.

The 2019 Honours Board

L to R: Bevan Tulett FPSNZ, Bruce Burgess FPSNZ, Meg Lipscombe FPSNZ, Bruce Girdwood FPSNZ, Heather Harley APSNZ, Tracey Scott FPSNZ
AFIAP FNZIPP, Graham Dainty FPSNZ, John Boyd Hon FPSNZ Hon PSNZ APSNZ.

31
 Audio-visual notes
by Trish McAuslan APSNZ AV-LAPS EFIAP AAPS

Tauranga Audio-Visual Salon 2019

All the information for this Salon is on the Tauranga Photographic Society website. Please note
that the society has a new address. It is https://taurangaphoto.nz/. If you are typing it, please
include the whole of this address. In the banner across the top of the home page, you will see
Audio-Visual Salon. From there you can see the guidelines and rules, where to complete your
entry and how to use web transfer to upload your entries. Entries will open on 6 May and close
on 5 June.

Celebration 2019
Each year the AV Makers South Africa run an international audio-visual competition based on a
theme which this year is Celebration. There is no entry fee so, if you would like to try entering
an international competition, this is worth considering.You have plenty of time to create this
AV as entries don’t close until the end of October. Gail Stent APSNZ is one of the judges with
the other two coming from Australia and the United Kingdom. Unfortunately Gail doesn’t get a
trip to South Africa; nevertheless I am sure she will enjoy the experience. Please contact me at
[email protected] if you would like further information.

Changes to the Jack Sprosen Memorial Trophy Competition

From this year you will be able to include short video clips in your AV programme. This brings
the Jack Sprosen competition in line with the Tauranga AV Salon which has allowed the inclusion
of video for a number of years; most overseas AV Salons also allow the inclusion of video.

Rule 6i now reads

An AV must consist predominantly of a sequence of still images taken by the author. Other visual
material such as video clips including time-lapse taken by the author and the use of third party
images such as historic photos, reference or similar images taken from other media such as the
internet are allowable. It is recommended that video and third party images are limited to no more
than 20% of the total viewing time and relate strictly to the theme of the AV. It is at the judges’
discretion whether there is too much emphasis on third party images, graphics such as titles
and text and video clips.

Previously there was a maximum frame rate for fast sequences such as time-lapse; this has been
removed. It was introduced in an attempt to differentiate between still images shown in quick
succession and video which is still images shown so quickly that there appears to be movement.

32
In practice this is not possible to verify. Firstly, it is difficult to count images being shown at
10fps. Secondly, in some modern programmes it is possible to use still images on layers which
are then moved to simulate motion. If done well, it is not possible to visually differentiate
between this and a video clip.

Adelaide AV-Fest
The Adelaide AV-Fest is an international competition for audio-visuals. This year there are 149
entries from 16 different countries. The competition is run under FIAP rules which are a little
different from the rules we use. This doesn’t prevent us entering our AVs into the competition
and this year we have seen eight programmes from New Zealand. For this competition there
is a silent audience and, although most are from Adelaide, they have been joined by Adele and
Elaine Ashton as well as Trish and Alistair McAuslan from New Zealand. Our country has also
been represented by Bruce Burgess who is one of the judges. Hopefully Bruce will be able to
share some of his thoughts and impressions with us later.

Congratulations go to Trish McAuslan with two FIAP acceptances and Gail Stent with one FIAP
acceptance.

Danny Moynehan, President of the South Australian Photographic Federation, presenting Trish
McAuslan with her certificates.

33
 Kapiti Camera Club: 50 years of
photography
KAPITI CAMERA CLUB, based in Porirua, celebrated its 50th anniversary with an exhibition
at Bottle Creek Gallery in Porirua from 1 February to 10
March. Neil Penman APSNZ, life member, ex Club President,
Porirua Community Arts Council member, PSNZ gold
medallist in photojournalism, winner of the Listener/Agfa
Holiday competition, opened the exhibition. Neil spoke
about his experiences as a local documentary black and
white photographer while in the club.

The exhibition showcased members’ printed and digital

images and short videos. As well, during the time of the
exhibition, two free photography workshops were led by
Geoff Marshall.

Neil Penman by Fiona Foxall LPSNZ

KCC members live throughout the Wellington region, although mostly in Porirua. They range
in age from teenagers to senior citizens. Geoff Marshall, who has been President a number of
times, and a member for 38 years, is the club’s longest-serving active participant. Members have
included husbands and wives, parents and children.

KCC members by Fiona Foxall

34
The Club has a long history of encouraging members and the general public to learn about and
enjoy photography. As KCC 2003 President John Lawrence said, “Isn’t photography great? There
is magic in capturing a moment in time, whether it is a news image, action, a family get-together
or an artistic creation. These images give the viewer the ability to look back in time and often
trigger some form of emotion. Photographs can shock you, make you laugh, cry, entertain and
inform you. Photography is a wonderful medium to work in.”

KCC has had many changes in its 50 years, including a move from colour slides to digital
photography, hosting and taking part in local and international field trips, competitions and
exhibitions, and learning from nationally and internationally famous photographers such as Ans
Westra, Ronald Woolf FPSNZ and Joan Wakelin.

The club’s highlights have been documenting Porirua’s last 50 years, the national and
international success of its members, their passion for photography and strong fellowship with
each other.

On 24 February, the club’s actual 50th birthday and midway through the exhibition, members
celebrated at the gallery with a huge red-velvet birthday cake. Cutting the cake were Gloria
Bushby who joined the club 50 years ago in 1969, and Gary Jones,Vice President.

Yum! by Garth Jones

Gloria and Gary by Ray Lovell

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.

35
 Judge training:
Tauranga, 22-23 June 2019
JUDGE TRAINING WILL be held on 22 and 23 June in Tauranga. The venue is the Arts & Crafts
Centre, 177 Elizabeth Street West, Tauranga 3110. Please don’t leave it until the last minute to
register as these workshops fill up quickly, and we have a maximum capacity of 30.

The workshop starts at 10.00am on Saturday and runs until approximately 5.00pm. On Sunday
it starts at 930am and finishes at approximately 4.00pm. Members of PSNZ and members of
affiliated clubs are invited to attend.

There is no charge for financial members of PSNZ and a small charge for those who are not
financial members. There is no expectation that those who attend will continue on to the
training to become a PSNZ Accredited Judge.

The workshop aims to provide those attending with a good understanding of the standards
expected for club judging.You will be taken through a process of image evaluation and critiquing
which will help you to put aside your personal prejudices and bias to give a balanced and
informed critique.

Comprehensive handout notes are provided at the beginning of the workshop. Lunch, morning
and afternoon tea are provided. If you are interested in attending, please email judging@
photography.org.nz to secure your place.

Please provide the following information:

• Name

• PSNZ member YES/NO

• PSNZ Honours

• Phone number, preferably mobile.

It will be first in, first served – remember, the maximum capacity is 30.

36
37
 23nd Laurie Thomas NZ Landscape Salon
2019
By Carolyn Elcock ANPSNZ AFIAP, Team Leader

AS ANNOUNCED IN the last issue of CameraTalk, the judges for the Laurie Thomas Salon
alternate between the North and South Islands. This year our judges are from the South
Island. All have a wonderful eye for seeing our New Zealand landscape in a unique manner,
creating inspiring photographs. They really need no introduction, so the following background
information is likely to be very well known by fellow photographers in New Zealand.

Our judging convenor is Ian Walls FPSNZ from Christchurch and

a member of the Christchurch Photographic Society (CPS). When
PSNZ reinvigorated its judge training programme Ian was one of the
first to complete the Accredited Judge qualification. He now regularly
judges at club, regional and national level and is a member of the
Judge Accreditation Panel.

Ian says, “It has been a challenge for me to understand why I am drawn
to photograph the things that I do, and to recognise what this says
about me. By nature, I am an optimist; I see the positive side of things
first. Photography is all about seeing things that others may not see.
Consequently, my viewpoint will be a positive one. I make pictures that
I enjoy. For me photography provides a means and a motive to become
a better observer of the good, the beautiful and the interesting. As a judge I strive to recognise the
personal vision that the individual photographer brings to the work. I believe that that vision is critical
while design and technical considerations are secondary.”

Scott Fowler EFIAP FPSNZ GPSA PPSA is also from Christchurch

and a past member of CPS. I first met Scott as a presenter at CPS,
where he inspired me to start working towards my International
Letters by entering overseas salons. Subsequently I have been to
several of his workshops in Otematata and his first in the Maniototo,
Central Otago.

Scott writes, “I have had a passion for photography for a long time and
now run a successful photography workshop business. I am an accredited
judge for PSNZ, Online instructor for PSA and have been one of the
selectors with Natex and the PSNZ New Zealand Camera book. I have
judged many Southern regional competitions and this year I was honoured
to be one of the judges in Australia, judging the Maitland International
Salon. I compete on a regular basis internationally and have many awards to my name.”

38
Andris Apse, renowned New Zealand landscape photographer
from Okarito, completes our panel of judges. When I think of
images of the New Zealand landscape, it is usually one of Andris’
stunning images that come to mind. Last year’s winning image by
Brian Eastwood was taken on one of Andris’ workshops on the
West Coast. Attending one of Andris’ workshops is on the bucket
list of everyone organising this year’s salon.

In the words of Andy Dennis, essayist for several of Andris’ books,

“Perhaps as others work through his landscape images, they too will
be reminded of the years of patience required to assemble a collection
as memorable as this, and how lucky we are that people exist who
are prepared to devote their lives to enable the rest of us to see, by
the simple act of opening a book, what is beautiful and moving about
landscapes and light.”

About Andris:

• Full time landscape photographer since 1983

• Member New Zealand Order of Merit

• Honorary Fellow of the Australian Institute of Professional Photographers

• Fellow and Honorary Fellow of the New Zealand Institute of Professional Photographers

• Life member of the New Zealand Institute of Professional Photographers

Andris has produced nine books of the New Zealand landscape. He lives in Okarito with his
partner Lynne. “

The 2019 Laurie Thomas Salon opens for entries on 5 April. Go to lauriethomassalon.com for
details. The closing date is 17 May 2019.

39
 A reminder that entries open for the Trenna Packer Salver Competition on 1 May
2019

The Trenna Packer Salver has been returned to the South Island by the Pukekohe - Franklin
Camera Club and is waiting for the next club to claim it for a year. Their winning set is shown
below.

The competition is open to all photography clubs in New Zealand; for more information and
entry form go to our club web page detailed below.

We are excited to have as our judge this year Chris Helliwell. Chris is a photographer who
specialises in images of Nature and Macro subjects. He has always had an interest in wildlife and
photography but it was not until recently that the two have combined. His macro images show
the detail and beauty of the insect world that people just walk past or don’t know exist. Chris
likes to capture moments that people would normally not see; he spends many hours and
sometimes even days studying his subjects and learning their behaviours before photographing
them. Chris is the current NZIPP Nature Photographer of the Year and has won the PSNZ
William C Davies Memorial Trophy for the last two years.

Entries close on 14 June 2019. See details at www.naturephotography.nz/trenna-packer-salver

Carolyn Elcock ANPSNZ AFIAP

Salon Coordinator

40
PSNZ Interclub Competitions 2019
By Peter Wise FPSNZ

EIGHTEEN PSNZ AFFILIATED clubs submitted forty-two sets of a very high standard to be
considered for this year’s four PSNZ Interclub competitions.

The Rangiora Photographic Society did very well and won both the Wiltshire Memorial
Cup for the best open projected set of images and the Bledisloe Cup for the best set of open
prints. The judges commented that the Wiltshire set had some particularly strong images with
diversity of colour and subject matter. The image of the pier with a person under the lights is
particularly strong.

In the winning Bledisloe entry each image scored highly with great diversity of subject matter
creating a high quality set. Howick Camera Club won the Bowron Landscape Trophy with
images described by the judges as having a strong artistic element that made the images stand
out.

The Chance Cup was awarded to the North Shore Photographic Society for their set
which began with a very strong image of a lighthouse and continued with two more beautiful
images before finishing with a superb print of gannets.

The judges for this year’s event were John Reid APSNZ ANPSNZ AFIAP (Convener), Roger
Thwaites APSNZ and Irene Callaghan APSNZ. The host club for the judging was Nelson
Camera Club.  

41
 The George Chance Interclub
1st North Shore Photographic Society

Castlepoint at dusk

Muriwai at sunset

42
 The rocks

The stepping stones

43
 2nd Rangiora Photographic Society

Boulder rise

End of the lake

44
 Muriwai

Timaru dawn

45
 3rd Whanganui Camera Club

Isolation

Purakaunui Falls

46
 Waverley Beach

Whanganui awa gently flows by Kaiwhaiki

47
 The Bowron Trophy
1st Howick Camera Club

Cascading cataract

Fluidly flowing

48
Exquisitely ethereal

Wild whitewater

49
 2nd Hibiscus Coast Photographic Club

Ascend

Dart River jet boat

50
 Fox Glacier

St Bathans in the fog

51
 3rd Rangiora Photographic Society

A chilly morning

Elusive Sefton

52
 Lindis

Road to nowhere

53
 The Wiltshire Cup
1st Rangiora Photographic Society

Dew so close

54 Solitary
 Into the light

Fuschia dreams
55
 2nd Manukau Photographic Society

The moggies are watching

Inside Jacob’s Ladder

56
 Free to be

Cowherd

57
 3rd Nelson Camera Club

My heritage Waikawa Marae

Junkshop violinist

58
 Lighting up

The stories he tells

59
 The Bledisloe Cup

1st Rangiora Photographic Society

The eyes have it

A little cracker

60
Old and proud

Evening glow

61
 2nd Whanganui Camera Club

Bud on bloom

62 Autumn leaves
Life force of the forest

Generation gap

63
 3rd Auckland Photographic Society

Nest egg

Bellbird nest

64
 Balance

Moeraki rocks!

65
 NZSSPC: Year two
by Karen Lawton

PSNZ WAS PROUD to offer sponsorship and support to the New Zealand Secondary Schools
Photography Competition (NZSSPC) for a second consecutive year. The NZSSPC team, led by
originators Petra Patterson and Sally Zhang, introduced a few new elements in 2019.

While the competition had an overall theme – CONTRAST – students were invited to enter
into three set sub categories – Still Life, Nature and People. Entries were received from 55
schools throughout New Zealand. Across the categories there were 43 entries in Still Life, 143
entries in Nature and 81 in the People category. These 267 photographs were also up for the
People’s Choice award which resulted in 702 nominations.

A team of three PSNZ accredited judges – Jean Moulin APSNZ, Judy Stokes APSNZ and Karen
Lawton – spent an interesting few hours undertaking the judging for this competition. They
were tasked with choosing six finalists in each category, then narrowing that down to a first,
second and third (again by category).

The Awards evening was once again held at the Bruce Mason Theatre where the top 18 images
had been on display for several weeks. The evening was well attended (around 80 people) and
it was heartening to see so many families out supporting their young student photographers.
Sixteen of the 18 shortlisted winners attended the awards evening and a number of them were
from far out of the greater Auckland region.

A new element introduced this year was an online auction of all finalist images from the
2018 and 2019 competitions. Closing on 4 March 2019, this initiative raised $335 and all the
proceeds were donated to the Make a Wish Foundation. The top bidding image was Us and Earth
by Isabella Lee and was sold for $95. It was amazing to watch this community spirit oriented
initiative in action and the NZSSPC team should be applauded for their actions.

The organisers commented:

With our competition aiming to help gain exposure for secondary school photographers we feel
that this new component to the competition not only fulfils our goal but we are proud to provide an
opportunity for high school students to use their artistic skills not only for themselves but for others as
well, showing them the impact that their work can have on the wider community.Thank you to all our
photographers, and of course our generous bidders who have contributed to this wonderful result.

The NZSSPC is also sponsored by the Bayleys Foundation which has confirmed financial
support by way of a grant for the 2019/20 event. It is also well supported by a number of trade
organisations, with generous donations of goods for prizes totalling over $4800.

For more information please refer to: https://nzsspc.com/

66
PSNZ Vice President Karen Lawton announces the shortlsted photos.

The shortlisted photographers

67
 Winnner - Nature category Eden Ivatt-Oakley Y13 Kristin School

Winner - People category & People’s Choice Award Fiona Glennie Y12 Sacred Hearts College

Winner - Still life category Jaimie Hussain Y12 Marist College

68
PSNZ membership benefits
Helping photographers grow

As a PSNZ member you can enjoy a range of benefits, including:

• Expert advice to help improve your photography.

• The opportunity to achieve a higher Society distinction (APSNZ, FPSNZ).

• A complimentary copy of New Zealand Camera, and the ability to submit your
images for selection in this annual publication.

• Access to member only resources, including a member only PSNZ Facebook page
for social chat and updates with other members.

• The opportunity to enter the Canon Online Competition, with trophies for each
round and for the overall winner each year.

• Discounts for Society activities, such as the annual PSNZ national convention,
special workshops, international competitions and much more.

• The opportunity to participate in regional club meetings and events, including the
PSNZ Workshop Series

• A copy of our bimonthly member’s magazine – CameraTalk, with news, reviews,

events and some of the best photography around.

• The opportunity to exhibit your work in exhibitions such as the PSNZ Canon
National Exhibition, Regional Salons and other member only online competitions.

• Access to judge training workshops which are free for PSNZ members.

• Ability to promote your website on our website.

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

• Product discounts and savings when they are offered from our corporate partners
and associated companies.

• Discounts for major NZIPP events as a PSNZ member.

69
 The North Shore Salon of Photography
2019
Preparation for the prestigious North Shore Salon is once again in full swing.

The committee for the North Shore Salon is pleased to announce that planning for the 2019
competition is well underway. For the 24th edition of the salon, we will once again be returning
to our roots and featuring similar categories as the first event in 1995, namely open print and
digital, mono prints, scapes, fantasy, people, abstract and street. After receiving a tremendous
response last year, we have decided to once again feature the fantasy category to showcase the
exciting work that many of our digital artists are producing. Last year the salon received 1852
entries from members of 49 PSNZ affiliated photographic clubs and societies across the length
and breadth of New Zealand and the exhibition held at the Mairangi Arts Center attracted
hundreds of visitors.

The North Shore Salon is proud to once again form part

of the Auckland Festival of Photography which attracts
photographers from all corners of the globe to be part of
this prestigious event. 2019 Auckland Festival of Photography
will be NZ’s premium international photographic festival, that
brings together photographers, curators, students, amateurs and professionals for the aim of
encouraging the public to celebrate the art of photography.
Visit http://www.photographyfestival.org.nz/ for more details

70
This year we have once again attracted six distinguished judges, namely Kim Westerskov
FPSNZ, Ollie Dale, Rachael Smith, Ian Walls FPSNZ, Russell Hamlet and Bruce Burgess FPSNZ
who will have the unenviable task of selecting the best images from the thousands of entries
for acceptance into the salon.

Will your images be amongst them?

Entries for the 2019 salon open on 26 April and close on 12 May so start sorting your portfolio
and find your gold medal images now. Judging for the salon will take place on 25 May and the
results should be available within a few days. All accepted images will once again be proudly
displayed at the Mairangi Art Centre between 4 June and 18 June as part of the Auckland
Festival of Photography.

For more information, please visit the website: www.northshoresalon.co.nz

24 medals will be awarded. These include Gold, Silver and Bronze awards as well as Honours,
Highly Commended, Acceptance for each section. The Salon Supreme Award will be awarded to
the over all best image. Last year more than 400 awards were won.

Now is the time to prepare your entry into the North Shore Salon 2019.

In addition to the main salon, 2019 sees the launch of the North Junior Photo Competition.

The North Shore Junior Photo Competition is open to anyone of 18 years and under.You
don’t need to be an experienced photographer or have a fancy camera. The Junior Photo
Competition is open to anyone who can take a photograph. Entries are in digital format only so
there’s no need to spend money on printing or mounting and postage. Just click on the entry
button and upload your images.

The junior competition opens on 26 April 2019.

For more details go to www.juniorsalon.co.nz

71
 Key dates for the diary
April 5 Entries for Laurie Thomas Salon open
April 10 Registrations close for Hutt2019
April 25 Canon Online round 2 close
April 26-29 Hutt2019 National Convention
April 26 Entries for North Shore Salon open
April 28 PSNZ AGM - Lower Hutt event centre
May 1 Entries for Trenna Packer Salver Salon open
May 6 Entries for Tauranga AV competition open
May 12 Entries for North Shore Salon close
May 17 Entries for Laurie Thomas Salon
June 1 Deadline for next CameraTalk edition
June 5 Entries for Tauranga AV competition close
June 14 Entries for Trenna Packer Salver Salon close
July 10 Entries for Southern Regional Salon open

The last image

Mary Livingston LPSNZ - Shot in Tunnel Gully Upper Hutt, on a freezing winter’s day. Perfect for mental health week and light at
the end of the tunnel even if you have a black dog in your life.

72