Isn’t it just a question of being in the right place at the right time with the right camera and then spending time in Photoshop massaging the resulting image; isn’t it? Well maybe.

How do I approach the issue? In the first place I aim to start with a Raw file that is technically as good as I know how to make it. Well exposed with a histogram extending through all the tones from dark to light (in most cases for the average scene) with particular emphasis on the light end but avoiding clipping. But caution! The histogram on the back of your camera may not give you 100% accurate information because it originates from the jpeg image that is produced by the camera from the Raw file. It might indicate high end clipping when the actual exposure was half a stop, or more, under.
Check by taking images normally, without exposure compensation, noting the histogram and any clipping or under exposure indication, then comparing the histogram displayed in the raw converter. This knowledge will enable you to use the camera histogram to achieve an optimally exposed Raw file.

I aim to produce an image file that is focused properly, uses an appropriate focal length lens, a suitable shutter speed, and aperture. This dictates thinking about these settings in relation to where I am pointing the camera. I confess that I often don’t get it right having forgotten to change a setting set previously for a different shot. Using a tripod(in the right circumstances) does encourage a more considered approach and helps avoid ‘mistakes’ but I hand-hold most of my shots, even landscapes which would benefit from a tripod.

Having selected the well exposed (and composed?) image from the rubbish, I start off thinking of it ending up a ‘10’. This may sound presumptuous but I prefer to consider it positive thinking that has an impact on everything I do from that point until it is printed and mounted.

The image is then brought into Lightroom and adjusted in the Develop module (the raw converter in Photoshop provides the same facilities I think). This is pretty straight forward stuff aiming to make the image ‘look right’ and having regard to the histogram. A few things I always do:
Use the input sharpening presets (either ‘detail’ or ‘portrait’ whichever is applicable)
Check and correct the horizon using the straighten tool (within the crop tool). I also generally use the cropping facility here (rather than cropping in Photoshop). I often use the 1:1 crop to obtain a pleasing (to me) composition and selection. Otherwise I just crop so that it ‘looks right’ (often a ‘letterbox’) I never worry about the proportions (width to height).
I generally increase the ‘Clarity’ and ‘Vibrance’ sliders a little; never touch the ‘Saturation’ and seldom the ‘Contrast’ slider but occasionally use the ‘Tone Curve’ section which provides more sophisticated adjustments.
The Lens Correction section is invaluable in correcting verticals. Use the ‘manual’ setting and adjust the ‘vertical’ (usually) and the ‘rotation’ adjustment (often in combination).
I often use the ‘Graduated Adjustment’ tool for adjusting bland skies or foreground and occasionally the ‘Post Crop Vignetting’ to darken corners where appropriately.

From Lightroom I open in Photoshop and do any tidying up with (generally) the Clone tool, I resize the image if necessary, occasionally use Curves a little to adjust contrast, seldom use Levels and never replace or fool about with skies except occasionally using the Gradient tool. I infrequently use the Sharpen tool (from the tool box) when a little local sharpening is required, otherwise I do not sharpen in Photoshop.
I add a key line to the image, usually 0.4cm canvas addition then a 3 px black ‘stroke’. Very occasionally I pick a stroke colour from the image.

Having saved the file back to Lightroom I print from the Print module which takes care of output sharpening. All I have to do is select the profile for the paper I am using and then select ‘sharpening’ select ‘glossy’ or ‘matt’ and the degree of sharpening I require (‘low’ ‘standard’ or ‘high’). I generally prefer a white paper rather than one with a tint.
I always use a dead white or black mounting card, always take care when sizing and cutting the window in the mount so that there is a 4mm space outside of the image key line. The side and top borders are always the same and generally 60 to 90 mm wide with the bottom always more. I consider presentation very important.

Other generalities: Get the best lenses you can afford, calibrate your monitor and profile the paper/s you print on if you can.

Keith

Sheila has a talent for seeing pictorial possibilities where many would walk on by.  She also showed how the potential for a fine photograph could be realised merely by the re-arrangement of something within the frame or the addition of something to it to provide a focal point.  For Sheila, such an addition could have been a hat, a shoe or a leaf – anything as long as it was red!

Whereas our speaker of last week showed how photography could be successful and enjoyable using quite simple equipment, Sheila showed how with imagination and a ‘seeing’ eye, fine pictures could be obtained within walking distance of our homes.  It also became clear that with a little forethought much time and effort in post-capture manipulation could be saved if the hat, shoe or leaf were placed in the frame before releasing the shutter!

At the end of the evening, after thanking her for a special evening, Chairman Norman Carey presented her with flowers and a card from club members.  We look forward to seeing her again as soon as next week but this time only as a visitor/exhibitor at our Annual Exhibition.  We hope there will be many such visits.

Malcolm Bowditch

Butterflies and Fungi with Bill Raymond

On Tuesday 8^th May we were visited by Bill Raymond from Iwerne Minster who gave a splendid talk with the title ‘Butterflies and Fungi’ but which also included some reference to alpines.  He illustrated his talk with fine projected images that he had captured with a digital compact camera (currently a Canon S95) and if ever one were looking for truth in the cliché ‘it’s not the camera, it’s the person behind it’, we saw it clearly last night in Bill’s work. 

He uses available light only for his photography and shuns the use of devices such as anaesthetic sprays to immobilise his subjects which, as we all know, do have a tendency to fidget.

A member of ‘Butterfly Conservation’, he claimed to be primarily a naturalist rather than a photographer, and he both entertained and informed us with fascinating background information on his subjects.  We learned of the significance and the nature of symbiosis for certain butterflies and heard of their migratory habits and of their food plants.  One didn’t need to be a naturalist to be swept along with his very obvious enthusiasm for his subject and with his keen sense of humour.  The talk vividly illustrated the fact that there is more to life than photography – and much more to photography than competitions!

Malcolm Bowditch

Keith

‘In 2007, when I attained my LRPS, I was a member of Chichester Camera Club and was advised and encouraged by their LAF Group (Licentiate, Associate, Fellowship and a laugh) lead by Graham Sergeant. I doubt I would ever have found the confidence or courage to try for the distinction without this Group, and I suspect that’s true of many of the Chichester members who have gained distinctions in the past few years.

At the end of 2007 I moved to north Dorset, near Shaftesbury, and am now a member of Warminster Camera Club. I’ve wanted to have a go at the ARPS ever since but haven’t quite found the impetus to do so.

From what I can tell the clubs in the general locality e.g. Blandford, Devizes, Frome Selwood, Frome Wessex, Gillingham, Shaftesbury,Trowbridge, Yeovil, Warminster etc. are not large enough to support a group such as the Chichester LAF Group, but I have wondered whether there might be support for a local area Group available to club members from any local clubs?

Before I could set up such a group I’d like to assess how much interest there is.

The group would also need one or more mentors who have attained at least the ARPS, and preferably the FRPS, but the RPS itself is supportive of the idea and are trying to identify somebody who might help from among their members.

I would envisage that the group would meet once a month, maybe with breaks in December and August, but doesn’t need to operate as a club, so no committee. It really just needs somebody to book the hall and keep people informed, and I’m happy to do that.

If we could find around 20 people who are interested, and have at least a dozen turn up each month, then the costs could be kept to a couple of pounds per person per session’.

Penny Piddock from Dorchester was our guest judge at the club’s eighth and final Points Cups competitions on Tuesday last.  Penny gave carefully considered comments on all of the images submitted, which included our very last slide entry as well as the now usual categories including DPI’s and both colour and monochrome prints.  At the end of the evening she awarded the Points Cup trophies for the 2011-12 season to the winners in each of the four sections.  Julian Forder was the clear winner of the slides competition with 55½ points out of the maximum of 60 and, as the winner of this final competition, he was awarded the cup for his permanent retention.  Brian James was second with 56 points and David Cornes finished in third place with 49.

The DPI competition was won by Jean Bartlett with an aggregate of 57 points over the season with Graham Hutton in second place on 56½.  The third spot was shared between Marilyn Peddle and Stephanie Selwyn who both finished with 56 points.

Jean Bartlett was also the monochrome print competition winner with 56 points, with Keith Chaloner a whisker behind in second place with 55½ points and Marilyn Peddle just a half point behind Keith with 55.

The colour print competition was won convincingly by Keith Chaloner with an unbeatable score of 60 points, the maximum possible.  In joint second place were John Ellis and Peter Gafney with 57 points.  Peter Watts was in fourth place with 56 marks.

It was only with the award of Penny’s marks at this eighth and last Points Cups event that Ken Stevens, with trusty laptop to hand, was able to make the calculations that led to the announcement of the overall results for the season given above.  The evening’s competitions were supported with an entry of 9 slides, 26 DPI’s and 29 prints.  Julian Forder was the highest scorer in the slides competition with a 9.  Jean Bartlett secured the only 10 to be given in the DPI event, though Marilyn Peddle and Evan Jones were both awarded 9½ for fine images.

The colour prints attracted just one maximum score and just one 9 and both entries were from Keith Chaloner.  The rather smaller monochrome entry was also rewarded with one 10 (Malcolm Bowditch) but also with two 9½’s, one to Jean Bartlett and the second to Keith Chaloner.

And so ended another competitive season, a season in which several new names have appeared at the tops of the league tables.  This is a most welcome trend and illustrates the undoubted progress that the club is making and its ‘strength in depth’.  This bodes well for the 2012-13 season and also for our on-going efforts to do well in SAPA competitions.

As a footnote, it is important that while we acknowledge the efforts during the Points Cups season of our judges and entrants, we should not ignore the contribution of those who are perhaps so obvious that we hardly ‘see’ them.  I’m writing of people like Eric Langley, Mick Catley and Ken Stevens of course who have arranged without fail for these evenings to proceed smoothly and seamlessly.  There’s more to it than meets the eye as the writer can testify!  Thanks guys.

Malcolm Bowditch

An added bonus with the DAAC exhibition is that entries are available for sale (you decide the price) unless you do not want to sell. Entry is open to any one in Dorset, you may enter 5 prints at a cost of £2/print. Trophies and awards are presented.

If you are interested, check www.dorsetartsandcrafts.org or phone Paul Newsome on 01202 553113 for entry information.

The exhibition runs from 3rd - 7th August at Bovington Middle School.

Keith

This first module of the course, called The Art of Photography (TAoP) has taken me 15 months to complete. I am taking it with the Open College of the Arts and like the Open University each module can build to a degree, which in my case would be a BA (Hons) in Photography the college offers many other arts modules, which can lead to other Arts degrees.

I had thought about taking a formal course for a number of years and looked at many options, many of the courses were fairly short and I felt I would like something to get my teeth into. Shorter courses can be useful but I wanted to look at photography as an all round subject and not just taking pictures. I want to understand the history of photography; photographers who have shaped the way we look at pictures now, expand my knowledge of different genres and of course improving my pictures and expand my limited view.

It has opened an new world for me already I have visited exhibitions, some local and some farther afield, one at Laycock Abbey on the photography of George Bernard Shaw who I knew as a playwright not a photographer and the Wildlife Photographer of the Year exhibition at Bristol Museum and Art Gallery both with a group of students of the OCA, on the Bristol trip one of the tutors from the OCA joined us which made it really interesting and we ended up discussing the images we had seen and all our different views of the day over a pot of tea and cakes.

The suggested course to start with is TAoP, which gives a good basis for the rest of the modules. In TAoP you follow exercises to look at many of the basics of photography and it is divided into 5 modules with 5 tutor marked assignments with the final one being a culmination of the whole course. I won’t go into great detail, as you are encouraged to put your work in what they call a Learning Log online. There are a number of ways to submit your work for final assessment but I have chosen to send it all online, although in future modules I will have to print images for assessment and expand on my resources.

If you are interested to see the kind of work that is done over the year my Learning Log is at http://www.marilynpeddle.co.uk/oca/

Whether I complete a degree is another question, I find it very challenging at times particularly reading and critical appreciation of photos, but I’m looking at one module at a time and I consider it will not be wasted whatever the future brings. Of course it is not cheap to take the courses, but I feel they are good value for money and I can save up for over a year for the next one! The feedback from a tutor, who is not afraid to give constructive criticism, is good and it pushes me to try a little harder.

The course now has to go for formal assessment at the OCA which will be in July, I am not going to wait until the results but I’m enrolled for the next course which is Digital Photographic Practice, which I think will be very different from this last course and I’m looking forward to getting stuck in.

The Wessex Cup is for a competition held annually between the women and the men at Blandford CC and Sid Jones from Dorchester was good enough to turn up on Tuesday last to judge it.  These are enjoyable but highly competitive events and represent one of the calendar highlights towards the end of the season. 

The Cup comprises three sections, for prints – both mono and colour - and for projected digital images.  Each side enters eight images in each of the three categories, marks are given out of ten and the winner is the team with the highest aggregate of marks.

As is usual for this event, some of the better images from the season were on show and the helpful commentary and essential marking by our judge were both much appreciated.

In its five year history, this trophy has been won twice by the women and thrice by the men and so the result in any one year is not readily predictable.  However, on this occasion the men were lucky enough to win all three sections.  Despite having won by the substantial margin of 20½ points, the victors showed humility to some (minor) extent as they remembered their last defeat in 2010 – even though it was by only one point…  But, in the end, who’s counting?  Apart from all the men that is!

Malcolm Bowditch

summer-pro-details-2012.pdf

On Tuesday 17^th April, club members heard five mini-presentations by fellow members.  Dave Hurley kicked off by telling us all about how he started in photography – and when.  He doesn’t show his age!  Norman Carey followed by showing us how he produced one of his fine images by exploiting Photoshop to the full.  Malcolm Bowditch filled the spot until the break with a talk on the production of Cyanotypes with an emphasis on their simulation using digital methods – this was coupled with a salutary lesson on how not to number digital files for projection.  After the break, Peter Gafney told us about his way with portraiture and how he chooses not to photograph animals, but he did show at least one male portrait.  After this presentation, Colin Cross wound up the evening with a chat on how he gets his wonderful wildlife images.  He uses top of the range Canon equipment but it’s not at all necessary - he said!  In fact it was a very good evening for Colin because he learned that he had won the digital projected image section of the SAPA ‘Best of the Year’ competition at Bournemouth the previous evening.

This was a rather different evening enjoyed by a full house but normal service returns next week with the gender-based Wessex Cup.

Malcolm Bowditch