Mark In Your Social Calendar
Meet the Guilds returns on Tuesday, 8 September for an evening of networking, conversation and community & NZCS would love to see you there.
Hosted by the Tāmaki Mauakaurau Screen Industry Network (TMSIN), this free informal event brings together members of various screen industry guilds and organisations across Aotearoa.
Event Details: Meet the Guilds Screen Industry Mixer
Date: Tuesday, 8th September
Time: From 5pm onwards
Venue: Morningside Tavern, 16 McDonald Street, Sandringham, Auckland
Please RSVP here
Come along for a catch up with screen industry friends and colleagues.
We look forward to seeing you there!
Recognition continues for cinematographers and NZCS members Maria Inés Manchego NZCS and Bayley Broome-Peak, whose respective films have enjoyed an impressive festival run this year.
Both Big Girls Don’t Cry, shot by Maria Inés and Mum, I’m Alien Pregnant, shot by Bayley, premiered at the prestigious Sundance Film Festival in January, before captivating audiences at the recently wrapped New Zealand International Film Festival (NZIFF)
Directed by Paloma Schneideman, Big Girls Don’t Cry follows a teenage girl’s coming-of-age story in small-town New Zealand. Set during the summer of 2006, the film has received widespread acclaim and was a finalist for the World Cinema Dramatic Award at Sundance 2026.
Mum, I’m Alien Pregnant is a homegrown sci-fi comedy following a messy, underachieving millennial who must navigate an accidental alien pregnancy, sceptical medical experts, and an oversharing mother. Directed by creative duo Thunderlips (Jordan Dodson and Sean Wallace), the film thrilled late night audience members when it screened as part of Sundance’s Midnight section.
Congratulations to Maria Inés, Bayley and all other crew members involved. NZCS is thrilled to see your work receiving such wonderful recognition both locally and abroad, and we celebrate this success with you.
Mum, I’m Alien Pregnant releases nationally in cinemas Sept 10th 2026.
Big Girls Don’t Cry releases nationally in cinemas October 8th 2026.
On 30th July, NZCS members got a rare hands-on look at one of the fastest-growing corners of our industry: virtual production. DP's Bevan Crothers NZCS, and Chris Watkins took members through the reality of shooting on a Volume Wall - from the technology behind it to the creative decisions it demands on set. The event was held at the Reel Factory studio in Albany where the LED volume wall was in place, courtesy of vendor Creative Technologies. An existing set was used for the presenters, with the Volume Wall providing a seamless wood-panelled interior and cityscape backdrop on camera. Seating was arranged for around 100 attendees, and a good spread of food and beverage provided for the evening.
Virtual production is opening up many possibilities for cinematographers to create other worlds without leaving the studio, through intensive collaboration between lighting, set design, SPFX and camera movement. Bevan began his presentation by discussing the work he and fellow cinematographer DJ Stipsen NZCS produced on “Time Bandits” tv series, in Wellington, where they had the advantage of a 270 degree wrap around volume wall and overhead camera tracking to enable complex moves within the environment.
The pre-production element was a huge part of this process- integrating previewed worlds generated in Unreal Engine, and Bevan had some great slides and BTS images to explain the process, as well as playing finished clips to demonstrate what was achieved – from snowy alpine blizzard conditions and hot sandy desert environments to 1920's Prohibition Era New York. There were occasions when greenscreen was used to extend or augment the Volume work and Bevan explained the circumstances when and why this was used.
Bevan’s experience was on an Apple TV production with a serious budget - a wall the size they used was not cheap and required significant resources to support, although even then, Bevan remarked that they very quickly ran out of room with large exterior set pieces, and often found themselves ending up too close to the wall. One thing Bevan really stressed was the importance of the mid-ground physical elements (and matching lighting) to achieve a seamless transition between the foreground action and the background imagery.
Chris Watkins then brought it back to a level that was more available on a local level for TVC’s and smaller productions – namely playing clips of what they had achieved in the Reel Factory studio on a much smaller set-up – mostly in a 2D environment with no camera tracking and limited camera moves, but also expanding into a 2.5D situation where more complex moves were accommodated.
His demonstration certainly showed the level of highly creative agency concepts and extreme imagery that could be turned into reality even under tight budgets and intense time pressure.
With the help of a live camera, Chris was able to demonstrate concepts such as the “Frustum” (actual screen area the camera is viewing, rendered in full resolution), and how tracking the cameras via a ceiling “constellation” of reflective dots and an infrared transmitter/sensor on camera allows the perspective of the imagery on the wall to change as the camera moves.
Volume walls are showing up more and more on productions here and overseas, and the skills are different to anything most of us learned coming up through traditional sets. Sessions like this give members a chance to get real exposure to the technology, ask questions directly of DPs who've worked with it, and see what it actually looks like day to day, not just in theory.
It was especially pleasing to see a good turnout of non-members from allied industries who also wanted to expand their knowledge, Events like this are exactly what NZCS is here for: connecting members with the people and technology shaping where our industry is heading.
Big thanks to Bevan Crothers and Chris Watkins, for giving up their time to share their experience with the Volume Wall, the team at Reel Factory and Creative Technology for providing the resources, the NZCS volunteers and organisers/livestream team of James Turnbull, Callum Thomas, Christo Montes and Chris Brokensha, and to all who came along to support the event.
A Livestream of the Event is available for members to view on the NZCS website. If you are logged in, the video will appear under the Events tab.
Donny Duncan NZCS - Professional Development Manager
Photo credits to Mark Lapwood NZCS ACS
Saturday, 18th July 2026 at the Capitol Cinema in Auckland
Fabian Wagner ASC BSC, who was recently the cinematographer in NZ on the “Obsidian” feature film, recently shared with Kiwi HODs, producers and crews his desire to see film crews globally support gender equality and cultural diversity.
Fabian is an acclaimed cinematographer known for his striking visual storytelling and atmospheric imagery across film and television. Best known for his work on Game of Thrones where he earned Emmy recognition for the iconic “Battle of the Bastards” episode, Wagner has built a reputation for crafting immersive, cinematic worlds through bold composition and dynamic lighting. His credits span major productions including Zack Snyder’s Justice League, Sherlock, The Crown, and House of the Dragon, showcasing a versatile style that blends technical precision with emotional depth, and jumping between big Hollywood blockbusters and smaller more independent movies.
The first session with Fabian was moderated by DP Bayley Broome-Peake, where we were shown clips of his work, and introduced to his First Steps Cinematography mission, which is to provide opportunities for individuals from all walks of life to enter the camera, lighting and grip departments. Now in its 13th year, the main focus is promoting diversity and gender equality, regardless of age or experience, with the aim of creating a more diverse and inclusive industry, and investing in the future by prioritising the growth and development of aspiring filmmakers. Fabian was highly impressed with the calibre of crew and interns that were brought onto the Auckland production, but expressed a frustration that he was not initially exposed to a wider range of gender-balanced potential crew when he was gearing up in pre-production.
After a short break, WIFT NZ executive officer Patricia Watson, gave a background to the challenges and progress made in our gender equality in our local industry, and introduced the panel discussion topic, which was moderated by WIFT NZ member Louise Spraggon.
A select group of tech crew who had recently been interns and attachments on the Obsidian project spoke to their own experiences, shared their insights and analysed the state of the NZ industry - where we have come from, where we are, and what our desire for a more equitable NZ crew looks like in the future?
Many thanks to our panel of Tammy Williams, Nani Conforte, Hweiling Ow, and Felila Matafeo. Also to Kate Cresswell, Uplift Co-ordinator for Portal Productions and WIFT NZ for making this a thought provoking and insightful afternoon collaboration with the NZCS.
Photo Credits - Murray Milne NZCS
Our good friend, sound recordist Mark Williams, recently informed me of the passing of his uncle – Derek Williams - who although relatively unkwown in New Zealand, was a formidable presence in the foreign correspondent world, based in Asia for most of his career.
Derek initially trained as a sound technician with the NZBC, before moving in 1971 to the CBS News bureau in Hong Kong, where he was based until 1989 when he moved to Bangkok.
Filming in Beirut, 1982. (Photo by Tom Hartwell)
He was almost immediately dropped into filming the refugee exodus from Bangladesh to India. He went on to cover student riots in Tokyo, the last years of the Vietnam War in the 1970s, the Thammasat University student massacre in Bangkok in October 1976, the Soviet invasion of Afghanistan in 1979, Beirut and the Iran-Iraq war in the early 1980s, ‘People Power’ in the Philippines in 1986, China’s Tiananman Square massacre in 1989, and Operation Desert Storm in 1991.
“I’m deeply saddened to hear of Derek Williams’s passing,” Dan Rather, the CBS News anchor for 24 years, posted. “He was one of the bravest and a great CBS News cameraman. The images he captured beautifully told the story of a dangerous world — from the Middle East to South Asia and beyond. He was also a great man.”
CBS News Cameraman Marc Laban said: “Derek covered some of the defining events of the late 20th century, and did so with a courage and quiet decency that set him apart. The world of broadcast journalism has lost a legend.”
Williams and his wife Hà moved from Thailand to the United States in 2017 to be closer to her family, their son and a grandson. His health declined with the onset of Parkinson’s, and in 2025 he relocated back to New Zealand, his home country, and passed away on July 22nd, 2026.
Condolences to the family, and to Mark Williams who said:
“My uncle was a great and very humble man who I have admired my whole life and spent a lot of time with in Thailand over the years. A good fella who carried a heavy camera on his shoulder for many years.”
Many thanks to the Foreign Correspondent Club of Thailand for excerpts and quotes from their obituary.
Donny Duncan NZCS
It's with much emotion that the NZCS announces the departure of our long serving Executive Officer, Amber Lynch, after nine years of keeping the society on the straight and narrow and building it into the force that it is today.
We are very pleased to announce that the committee has unanimously agreed to appoint Claire Campbell to the role after an extensive evaluation of some excellent applicants for the position.
From Incoming NZCS Executive Officer, Claire Campbell
I'm excited to be joining the NZCS as Executive Officer and to be part of the Society's next chapter.
I've been part of the local screen industry for more than 20 years, primarily as a freelance Production Manager and Coordinator, working across TVCs, local & international drama and feature films. For the past two years, I've been in a very different role, that of a full-time mum to my young son.
I'm thrilled to have this opportunity to support our talented cinematography community, while reconnecting with the wider screen industry.
I look forward to working alongside the amazing committee, meeting members I haven't yet had the chance to get to know and building on the fantastic work Amber has done. She has certainly left some big shoes to fill! I can't wait to get started.
From Outgoing NZCS Executive Officer, Amber Lynch:
It's been such a privilege to be the Executive Officer of the NZCS for the past nine years. What started as a part time role became such a huge part of my life, but with my kids growing up, it's time for me to move into a full time role and take on some new challenges.
Nine years has absolutely flown by, and I'm incredibly grateful for the friendships, opportunities and trust that came with the role.
Working alongside the NZCS Executive, Committee, members and the wider camera community has been so rewarding, and I'll very much miss being part of it all.
One of the highlights every year has been organising the NZCS Cinematography Awards. I'm really proud of how the Awards have grown over the years, the relationships we've built with our sponsors, and the role they've played in strengthening and supporting the Society while showcasing the incredible talent of our members.
It's hard to sum up nearly a decade in a few paragraphs, but I'll always be grateful for having been part of this community.
From Aaron Morton, NZCS President:
Huge thanks to Amber Lynch for her years of hard work, dedication, and enthusiasm for our craft.
It’s not easy putting up with a bunch of opinionated camera nerds, but she found a way. Amber has played a huge part in all facets of our society, improving and building alongside the committee, always with a smile as she rolls her sleeves up.
On behalf of the Committee and the whole membership, I wish her all the best in her next endeavours. In turn, I’d like to welcome Claire Campbell, our new Executive Officer.
Amber leaves the Society in a very good place. We look forward to helping Claire make the position her own.
NZCS Committee Members welcome Claire and farewell Amber
The NZCS Awards won't be running in 2026. Instead, we're taking the year to pause, reset, and bring the Awards back stronger in 2027.
The screen industry is under real financial pressure right now, and that pressure is felt by everyone who supports our events, not just NZCS. Rather than run an Awards night that's a shadow of what it should be, we'd rather step back, take stock, and come back in 2027 with something better.
This isn't a decision we've made lightly, and it isn't a decision that means the Awards are going anywhere. Quite the opposite. We see this as an investment in the future of the event.
We reached out to our sponsors early to talk this through, and the response has been overwhelmingly positive. Across the board, sponsors told us they understood the reasoning, appreciated being kept in the loop, and are already looking ahead to 2027. Several told us they're using the break to plan an even bigger presence next time round. That kind of support tells us we're on the right track.
We're using 2026 to properly review the Awards, from the format and the judging process through to the night itself, and to make sure that when we come back, it's worth the wait.
And this is where we want to hear from you. You're the reason the Awards exist. If there's something about the current format that hasn't quite worked, something you've wished was different, or an idea for how we could make the night even better, we want to know. Drop us a line and tell us what you think. Your feedback will directly shape what 2027 looks like.
We're proud of what the NZCS Awards have built over the years, and we're excited about what a refreshed version can be. Thanks for your patience, and thanks for being part of this industry with us.
See you in 2027.
Tribute by Whetū Fala (Writer/Director)
Photo curtosey of: Karen Sidney - Kahu & Maia He Taongā Films
Sharons’ lifetime advocacy and love for Ōrakei and Ngāti Whatua has in recent years been well documented. Thanks in part to her outstanding service in the myriad of governance roles she held, coupled with her zest and joy for all kaupapa she took on, she was a tour de force.
Her pioneering roles as takatapuhi wahine Māori in film, television and her contributions to the collective Māori actions that secured the foundations of the world class Māori media sector we enjoy in 2026, is not widely documented.
In the mid 1990’s Sharon was the only Māori wahine cinematograper, and at the time, one of two women in the NZ film and television industry to have attained that position.
She started at Television NZ 1988 the only wahine Māori in the camera department on the Kimihia Māori Affairs training scheme for fifty rangatahi Māori.
Her initial TVNZ training was led by legendary journalist Whai Ngata and producer Ernie Leonard who headed the TVNZ Māori department.
Sharon, unlike myself and the majority of our starstruck Kimihia peers, was no stranger to the media world.
As a whanau member with parents Joe and Renee Hawke, they were on the 1975 Land March followed by the 1977 Bastion Point Takaparawharau fight for their home. Sharon as a young university student protested in the 1981 anti-Springbok rugby.
Her whanau, had been the targets of extreme and ongoing, legacy media scrutiny.
Despite this, an eclectic mix of media stalwarts, were regular visitors to their home, among them, Tama Poata Producer/Director/Writer, Merata Mita Director/Writer of the seminal ‘Bastion Point Day 507 ‘ and local cinema distributor Barrie Everard.
A cursory look at Sharons’ IMDB credits reveals she worked in the camera department on a diverse range of screen production from the years 1988 – 2005 from movies for Sir Peter Jackson and Lady Fran Walsh ‘Heavenly Creatures’ to ‘What becomes of the Broken Hearted ‘ dir Ian Mune.
Sharon and her peer group that by
now included Don Selwyn screen
graduates like Melissa Wikaire (Kua
wheturangitia ia) and Ruth Panapa-Kapua, Therese Mangos, Gavin McLean, Henare Mato, Lee Allison, Joe Bidois, Martin Cleave, based out of Waiatarau, they were making NZ television and film, media history as pioneering Māori and Polynesian crew.
In screen governance, Sharon was an active and founding member of Ngā Aho Whakaari (NAW) Māori screen guild. As a Te Manu Aute media group member and then NAW board 1995 – 2004 she worked hard to increase Māori representation at all levels. of the screen industry.
Their collective achievements included;
● 1995 the first Māori Indigenous Film Festival was held in Ruatoki. Ramai Hayward as our screen kuia. Guests included Puhipau and Joan Lander (Hawaii) and Sami.
● Inclusion of tīkanga Māori concepts such as simple pōwhiri and karakia for the welcome start of all Māori led or Māori story productions.
● Māori language resources – Wi Kuki Kaa wrote the first crew production list in te reo - and teachers, like legendary te reo experts Keri Kaa, Lee Smith, ran courses at hui.
Sharon, an articulate and thoughtful advocate on behalf of the rights of Māori to tell Māori stories, was a formidable public speaker.
A well-known Māori producer greenlit for a television drama series, written by Māori but directed by all pākeha men was challenged by her at an open forum.
She appealed to the producers to employ directors that were Māori and also wahine Māori, to have the courage of their tupuna. While publicly the producers kept face, privately after the hui, their verbal commitment to Sharon for future paid work, disappeared.
Undaunted, Sharon continued on with Moko Productions a production company she had formed alongside Leonie Pihama and Glynnis Paraha.
As independent producers, they created Māori documentaries ‘Moko Kauae’ and corporate content earning them in their first years of production, the film and television Wellington Accolades award, for courageous filmmaking.
‘Bastion Point – The Untold Story’ produced by Sharon and Moko Productions with Morrison Grieve, screened on legacy media and garnered a local Peace award from the Peace community.
The Hawke whanau and Ngāti Whatua by extension, were roped into supporting Sharon and her Māori screen colleagues.
The first NZ film and television (NZFTV) conference to be held in Tamaki circa 1991 (the fore-runner to SPADA and Big Screen Symposium) with Vincent Burke as President, was held at the then Sheraton Hotel.
With Keri Kaa, still on the powerful NZ Film Commission Short Film Development fund and one of the funders, the organisers were made aware, Māori participation, not just as attendees, was expected. NAW board thru Sharon brought Taiaha Hawke and Ngāti Whatua Te Puru to open the 300 + strong conference, in an absolute hau kainga response. Ella Henry and Leonie Pihama along with Māori TVNZ staff were presenters. It was unheard of and many present wanted to know why a Māori welcome and speakers had been included in a film and television conference. The irony in Tamaki, the Polynesian capital of the world.
Te Manu Aute and Ngā Aho Whakaari early screen hui by contrast, were very much Māori made affairs. Some of the amazing film guests, courtesy of Merata Mita and Barry Barclay contacts, were Gerry and Lester Bostock (Australia) Puhipau and Joan Lander (Hawaii) then Alanis Obasawin (Canada) Rachel Perkins (Australia) Trin T Minh-Hah (Vietmanese, USA)
With global indigenous filmmakers inspiration, Sharon continued to pursue her cinemataography goals, and joined the now legendary American owned television series ‘Xena Warrior Princess’ starring Lucy Lawless with Renaissance producers Rob Tapert, Bruce Campbell and Sam Raimi.
In her spare time, Sharon made indie shorts on film. She was the DOP on ‘ Hei Tiki’ the first Aotearoa all wahine film crew starring a then, recent Toi Whakaari graduate, Tanea Heke finished on 35mm.
Indie shorts made by grace and favour of screen colleagues and with Sharons’ sense of social justice made her a natural for screen workers issues on the many productions she worked on. Her at times searing analysis, with an unerring eye for kaupapa Māori cost her jobs and friends.
When the first CEO of Māori Television, in 2004 was announced as a Canadian white man, Sharon protested to get him removed, and sought support from her fellow Ngā Aho Whakaari board members. When that failed, she publicly chastised the then Māori Television board and resigned from Ngā Aho Whakaari.
When the Canadian, not long after, was revealed as a fraud and imprisoned with a Māori appointed to the CE role, Sharon would just shrug. The upshot of her protest resulted in the NAW board with other critics Don Selwyn and Barry Barclay also canceled from the invite opening events. In true Sharon style, her Ngāti Whatua mana whenua team extended their invitations to include Māori screen professionals who had contributed to the channel.
One of the first wahine Māori to produce a current affairs show for Māori Television, Sharons’ start was not all plain sailing. Several years – and CEO’s later after the opening of Māori Television – Sharon applied for the role of Producer on a new weekly one hour current affairs show and got it.
The name for the new show, she decided, had been used extensively in early NZ settler legislation. She sought to transform this phrase, from its somewhat punitive past connotations, into a positive future for Māori. The Māori Television executive team of the day, called a meeting to discuss if this new name was appropriate, and in 2007, ‘Native Affairs’ was launched.
‘Native Affairs’ team included outstanding journalist and te reo Māori broadcaster associate producer, Wena Harawira as well as respected pākeha media current affairs Executive producer, Colin McRae. Julian Wilcox, already a Māori Television household name, was the presenter.
During Sharons’ tenure as producer of the show, noted Journalist, Tina Wickcliffe recalls, it was Sharon who first encouraged her to consider anchoring current affairs, while a rookie journalist, Orini Kaipara remembers she earning a role here too.
With Sharon, the team were nominated in the national TV awards, the first Māori television current affairs show to do so. Shortly afterwards, Sharon left the show and Māori Television.
Taking up her iwi and whanau duties, she was based out of Papa Joes’ office on the side verandah of the old dining room at Takaparawharau.With rising responsibilities as a parent and daughter, along with her iwi mahi, this lessened her participation in the Māori screen sector.
2019 the first day of principal photography of my first feature film ‘Taki Rua Theatre – Breaking Barriers’ – a dream - Sharon arrived serendipitously to work with Fred Renata and our team. Thank you Lope for that time!
In 2024 when the film opened in Tamaki, Sharon lauched it at the Waterfront theatre with with Lope, Kataraina Pipi, making good on our promise as wahine Māori to make feature film, made by and about us.
These last years since her cancer diagnosis, Sharon faced with characteristic unblinking optimism to live life to the fullest, along with the love and devotion of Lope, Tuti and moko it has been a powerful inspiration.
I salute my fellow Infantry sisters led by the equally fiercely devoted Manu for our fulfillment of the promise made and kept for three years, to meet for daily karakia for Sharon, Lope and whanau.
Farewell to our beloved Sharon Aroha Hawke, shining brightly as you journey on, boosted on the winds of the great Tāwhirimatea cyclone, Vaianu Sharon.
Whiu atu te roimata a Rangi he koha ki a Papa, aue, taukiri e!
He tohu aroha ki te mokemoke a te ngākau i to wehengā ki te arai.
Haere atu ra, ki te taha o to matua tupuna e! Hei tiramarama, hei korowai whetū!!
Nā Whetū Fala
Screen industry assistance: Christina Asher, Sandra Richmond, Hineani Melbourne, Annie Frear, Dr Ella Henry, Dr Leonie Pihama, John Miller, Raiha Stirling, Pauline Pohatu, Liz Di Fiore, Linda Te Moana, Therese Mangos, Anna Gundersen, Lanita Ririnui, Anahera Higgins, Mechele Heron, Robyn Leigh Cowan, Sandi Bell, Kara Dodds, Karen Sidney, Lawrence Makoare, Kale Richmond, Waka James, Neil James.
Photo: Christo Montes
We have all heard about gamma curves, but why do we need them? What is wrong with linear encoding?
In our recent Sony FX series workshop, Christo Montes took things back to basics with an in depth breakdown of image processing fundamentals.
He illustrated how in a linear 16bit data stream coming out of a theoretical 16 stop dynamic range sensor, 98% of the image information would be reserved for the highlights above mid grey, and only 2% for the shadows & mid tones, explaining this is the reason gamma curves are used. He showed that gamma curves transform that information from how a sensor records light to how humans perceive light. And that gamma curves can process the image with immediate viewing in mind (various Rec709 gamma curves), or with maximum information retention in mind (log curves).
Christo also talked about the difference between dynamic range in Cine EI vs S-Cinetone and when you should use each of them, MLUTS, Codecs, Chroma Subsampling, All-I vs Long GOP - all fascinating techy stuff.
Sony kindly funded this knowledge sharing workshop, which was held in a studio courtesy of Photo Gear.
Around 22 people attended, with a great mix of students and experienced camera users. Everyone left with a deeper understanding of their cameras and some of the science behind what we do and why.
Thanks go to Donny Duncan NZCS in his Professional Development role for organising the session, and to Christo for investing so much time in researching and presenting the material to share with the community.
~ Murray Milne NZCS
Photo: Alex Linden, President of FSF (Swedish Cinematographers Society)
In January this year, some NZCS board members were host to Alex Linden visit for a short period of time and had expressed interest to meet up with some NZCS team.
It turns out Alex loves travelling, and he had some airpoints that were about to expire, so he hopped on a plane to New Zealand – a 20 hour flight each way from Sweden to be on the ground in Auckland for around 48 hours only! He made a similar trip last year to Austraia to meet some ACS members!
Murray, Ainsley and myself met Alex in the Wynyard quarter, and had a great catch up about the workings of the FSF and the Swedish film industry, and comparing it to the state of the industry in NZ and the role of our society.
Alex is also the General Secretary of IMAGO, so we had some good discussions on the new blood and future direction of IMAGO, which has seen some controversial internal politics over the last 5 years.
On his second day in Auckland, I took Alex on a sightseeing trip to the Muriwai Gannet Colony and the Cascade Kauri Regional Park, near Bethell’s Beach. Alex was very happy to get into the outdoors and hug a tree before jumping back on a 20 hour plane ride!
He is currently just concluding the 2026 IMAGO annual General Assembly in Austria. In 2025 it was held in Sao Paulo, Brazil – the first time in the Americas. The NZCS has a UK based board member, Marc Swadel, attending on our behalf as a delegate and reporting back on his role on the IMAGO Gender Diversity Committee.
Photo: (L to R) Murray Milne NZCS, Alex Lindon, Donny Duncan NZCS
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