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Issue #1

Blackburn & District Camera Club

November 2020

Summer Challenge At the beginning of the lockdown Jeremy set us all a set of challenges. These took us all out of our comfort zones and asked us to try new things. All in or around our homes. The challenge was accepted by all and we present the images and results

Don McCullin Tate Liverpool presents a major retrospective of the legendary British photographer Sir Don McCullin. Renowned as one of Britain’s greatest living photographers, Often taken at great personal risk, these unforgettable photographs will be shown alongside McCullin’s work made in the north of England, his travel assignments and his long-term engagement with landscape.

ANOB Bowland Forrest As photographers we often fall into the trap of assuming that we must travel to exotic and far away places to make landscape photographs. In fact going somewhere local that you can revisit can be a better strategy and on our doorstep we have the Bowland Forest

Autumn Programme We may be under restrictions and unable to meet up but that does not mean that we have to close shop. On the contrary by virtue of Zoom video conferencing we can now attract speakers from far away who we could never have had in person

Welcome Editor’s Note This is the first Issue of our new club magazine, we hope that you enjoy it We published a very successful magazine for a few years but it folded 7 or so years ago. However we now find ourselves in the midst of the Covid epidemic and face being locked down through the winter months so what better time to revive it.

On The Cover

We've changed the name, and Lazaretto might not be the first name you think of when looking for something to call your new magazine but it has special significance at this time.

This month’s cover photograph is by Jeremy Lambert. It was made for the Summer Challenge and is deliberately defocused in camera The subject is Civic Art in Blackburn


We have forgotten that in times past mankind had to live alongside plagues and pestilence and being confined for quarantine was so common that special buildings existed outside most ports and cities for the purpose. We hope that our Lazaretto will help you to endure your confinement and that inside you will find things to entertain and lighten your mood till the pestilence is passed

What’s in a name?

A lazaretto or lazaret (from Italian: lazzaretto) is a quarantine station for maritime travellers. Lazarets can be ships permanently at anchor, isolated islands, or mainland buildings. In some lazarets, postal items were also disinfected, usually by fumigation. A leper colony administered by a Christian religious order was often called a lazar house, after the parable of Lazarus the beggar. Sadly as we re-start our Club Magazine - Blackburn is in Lockdown due to the Covid 19 corona virus



Don McCullin

Landscape photography opportunities on our doorstep.

Renown War Photographer and Photojournalist Don McCullin is the subject of a major exhibition at Tate Modern in Liverpool and we have been granted access to some of his work

Explore the Bowland Forrest AONB

Summer Challenge This year Blackburn Camera Club members were set a series of challenges to complete working in pairs.

Photos by Bob & Chris The results ....

4 Autumn Programme



Back to the Future Keith Heyworth looks at some examples of old lenses and gear that can work well with today’s kit



Lazaretto is the Club Magazine of Blackburn & District Camera Club. All work is copyrighted to the author or artist. All rights reserved. No part of this magazine may be used or reproduced without permission from the publisher.

Website WWW.BlackburnCameraClub.Co.UK

The Team


Nan Goodall



Bob Singleton



Keith Heyworth -


Teresa Roberts



Jim Cunningham -


AONB Exploring the Bowland Forrest - Landscape on our doorstep


The Forest of Bowland Area of Outstanding Natural Beauty is one of 46 AONBs covering just under 1/5th of the UK. They offer a wealth of opportunities for both people and wildlife to benefit from the countryside and, as vibrant, living landscapes, they underpin the economy and the health and wellbeing of our society.

the UK’s best countryside for walking, cycling, wildlife-watching and star-gazing and Bowland is no different. From quiet lanes, ancient woodlands, distinctive and attractive villages to flower-filled hay meadows, open moorland and a wealth of local culture and heritage.

Areas of Outstanding Natural Beauty have some of Our thanks to The Forest of Bowland AONB for their assistance with this article. More information is available from


The Langden Valley But where are the trees in the Forest of Bowland?

The origin of the word 'forest' is from the Latin forestis silva where silva ( as in 'silviculture' ) meant woodland and forestis meant 'outdoor' . Commonly these were extensive areas of rough land on which the king or major landowner had the right to keep deer for hunting. These areas were subject to Forest Law in order to preserve game. As the home to several such 'Forests' – it can be seen that the 'Forest of Bowland' is closer to this historic meaning of the word

forest than many of the woodland and plantations that might commonly be perceived as forests today. Our ancient and veteran trees are fundamental to the spirit of the Forest of Bowland. Britain is thought to have the greatest number of ancient trees in Northern Europe. They are a vital part of the cultural story of Bowland many have a link back as far as the origins of the hunting forests of Bowland. Not only are they a vital link to the past but ecologically some of these open grown trees are home to bryophytes and lichens that exist nowhere else.

Just the place for a stroll Your visit to Bowland can help to keep it special

Millions of people, both local residents and visitors, enjoy Areas of Outstanding Natural Beauty every year – many without realising they are in a designated landscape. Make this year your year to discover – or rediscover – what Bowland and the UK’s 46 Areas of Outstanding Natural Beauty have to offer. The built heritage of the Forest of Bowland comprises

a series of small and medium-sized villages, a fairly even scatter of individual farmsteads, and a significant number of larger gentry houses. The ample supply of local materials, chiefly pale and golden sandstones and pale grey limestones, has meant that the vast majority of the older structures are stonebuilt and many have (or originally had) stone slab roofs. Structures of well-dressed rectangular blocks, of more roughly dressed but still squared stones. It is notable, however, that few of the local limestone beds are suitable for high-quality masonry and the stone is often hard to dress cleanly. In these areas rubble construction tends to predominate, with lintels, sills and other important or decorative items may be made of ‘imported’ sandstone.

Spectacular in Winter Chris McWilliam captures images of the snow covered landscape from Longridge Fell

If one discounts the religious buildings and the higher status houses and halls, few of the buildings of Bowland have been identified as of 17th century origin, and fewer still pre-date this. It is probable, however, that many of the existing early buildings are replacements or rebuildings of earlier structures but it would also be true to say that the status of the area as a Royal Forest (a hunting preserve, not necessarily an area of trees) would have severely limited

settlement and construction until at least the mid 16th century. Farmsteads generally comprise a collection of individual structures, often around a farmyard, as opposed to the ‘laithe-house’ style seen more commonly in the Pennine areas, where the farmhouse and barns are built next to each other under a single roof. Barns are often of a ‘combination’ type, both housing cattle and providing storage for crops and fodder. The classic ‘Lancashire’ barn can often be seen with a pair of opposed cart doors centrally and a cow house or shippon at one end, accessed by three doors through the gable end and with a hay loft over.

Back to the Future I’m Keith Heyworth and this is my journey back to the future


We seem to remember the past with fondness, ‘ahh the good old days’, ‘I remember when…’ and all those sorts of comments. I remember my old camera gear in that way. ‘My best ever equipment was my Minolta XG2 35mm SLR with Soligor 45-150 Close Focus lens’, or was it?

The thing is, when I was using that gear in the mid to late 70’s I was enjoying my later teenage years, spending lots of time visiting my ‘Grans and Uncle Tony’s house whose garden was a riot of colour crammed with their particular favourites of Dahlias, Roses and Clematis, and the lens was great for flower photography with 1:5 close up magnification. My Uncle Tony’s slide shows of family photographs were absolutely fantastic events and probably the reason I got into photography in the first place. I just got on taking photographs with the only people to please after myself were a family who were probably far too supportive and kind. I didn’t over analyse the images and mostly just enjoyed the process.


‘My best ever equipment was my Minolta XG2 35mm SLR with Soligor 45-150 Close Focus lens’, or was it?


With that equipment I took a particular photograph of an animated Grans chatting over the fence with her next door neighbour Sheila; a photograph I treasure and it’s how I always remember my Grans. I’ll have to sort through my old negs for it at some point but I remember very shot I’ve ever taken, or at least it feels like I do. The reality, however, was that lens was an absolute

beast weighing in at 900 grams or as it was in those days 31.7 oz, and the camera was nothing special with the shutter speed topping out at 1000th of a second and a split screen and micro prism focus finder which blacked out if you’re eye wasn’t dead centre. So was it the gear that was so good or the circumstances in which it was being used? Well probably more to do with the latter along with the memories it helped me both cement in my mind and record for posterity. Limited by the generally available and useable film up to 400 ISO, manual focus and a big hefty lens with limited focal length range it can’t have been that great, yet I can’t let go of the fondness I felt for that gear at that time.


However there is no way I would go back to that gear over what I have now; although that statement is not as clear cut as it might seem. I kept renewing my Minolta XG/X series cameras and bought a few more lenses as I went. Despite moving onto auto focus SLRs and then digital cameras I kept hold of my old manual camera gear. Unfortunately that didn’t include the 45-150 which fell apart many


years ago. My first interchangeable lens mirrorless digital camera was a Panasonic GX7 micro 4/3rds and it led me to my first foray into the world of lens adapters. I dusted off my old camera gear and used my 28mm and 50mm Minolta lenses which had effective focal lengths of 56 and 100mm respectively, but the 2x crop factor didn’t really help with many lenses.

In 2020 I bought a full frame Sony A7ii 24MP. As I could now use my vintage lenses at their native focal lengths I bought a converter to mount my Minolta MD lenses onto it and added a few more vintage lenses to my collection. Yes I have enough of them to call it a collection. The camera’s magnification of the scene through the electronic view finder together with focus peaking and

internal body image stabilisation lets you get the very best out of the lenses. The old lenses were generally very well built metal construction and had manual focus that was designed for the purpose and not as an add-on to autofocus. I find the experience of using the manual focus lenses on that camera an absolute joy. I have added a vertical grip to my Sony A7ii as it was too small for using it as much as I have been doing. It’s now a lot more comfortable to use and more balanced.


Most of my photography is of static or slow moving subjects and for such use manual focus isn’t a problem. However, while you can prefocus ahead of moving subjects, I wouldn’t choose to use them to take photographs of fast moving action. In my camera bag I presently carry; a Sigma Ultra Wide Macro II 24mm F2.8, Rokkor X 28mm F2.8, Rokkor 45mm f2, Rokkor 50mm f1.7, Helios 44/4


58mm f2, Rokkor 100mm f2.5, Rokkor 135mm f3.5, Rokkor 200mm f4, Tokina 100-260mm close focus f4.5. At the moment I’m trying the different lenses to see what works for me. The ones that don’t provide any particular benefit will be finding their way onto eBay. There are certain limitations to some of the old lenses

with a particular mention to lower quality coatings with potential low contrast and flare, with no lens distortion settings waiting for you in Lightroom (apparently other products are available). There are some advantages today however including build quality, more compact sizes, price and maybe an artistic quirkiness such as the swirly bokeh of the Helios lens. Putting the images through modern software such as Lightroom or Photoshop you can

correct a lot of the issues or emphasise their individuality. I certainly find that having the interest in the lenses has meant I’ve been taking more photographs and I’ve also been trying to be a little more creative. I hope to be able to bring you a little more in depth detail on some of the lenses and how I’m getting on, but for now here are a few examples of images taken with vintage lenses on my Sony A7ii. 19

Gallery Viewing We are fortunate to have several major galleries on our doorstep. This month we visit Tate Liverpool

I am a member of the Tate Gallery so maybe I'm biased but I think we are fortunate to have a branch of Tate Modern so close by. They have a good rotating permenant collection which normally has quite a few photographs on display. We also have Open Eye just across the dock so you can easily combine the two galleries in one trip. A few years back I made the trip to London to Tate Britain to visit an exhibition by Don McCullin and was very impressed by the work. I'm old enough to remember when print journalism was the best source of news and the Sunday Supplements had work from the best photojournalists around. I got to know Don's work then and the power of his images stuck with me. There is something very special about seeing prints on the wall that merely seeing the images on a screen can't replicate and that is especially the case for this exhibition. Every photograph in this exhibition has been printed by McCullin himself. He is an expert printer, working in his darkroom at home, returning time and time again to produce the best possible results. In doing so, he revisits painful memories of his assignments; of people and places that are impossible to forget. I haven't yet been able to get to


Liverpool but hope that the current contagene will abate and that I'm able to do so before the exhibition closes it will be good to see the work again.


Those of you interested in documentary photography and war photography in particular might be interested in Don's Autobiography. I read it a few years ago and can heartily recommend it.


Tate Liverpool presents a major retrospective of the legendary British photographer Sir Don McCullin. Renowned as one of Britain’s greatest living photographers, McCullin has captured images of conflict from around the world including Vietnam, Northern Ireland, Lebanon and Biafra. Often taken at great personal risk, these unforgettable photographs will be shown alongside McCullin’s work made in the north of England, his travel assignments and his longterm engagement with landscape. Originally shown at Tate Britain in spring 2019, the exhibition presents more than 250 photographs and showcases the scope and achievements of his career.

Timed tickets must be booked before visiting

Bob Singleton

Royal Albert Dock Liverpool Liverpool L3 4BB

16 September 2020 – 9 May 2021 Currently booking until 31 December 2020

All visitors including Members need to book a ticket The exhibition is open for Members only on the last Sunday of each month, 10.00– 11.00 for Members Hours PRICING £13 / Free with ticket for Members Concessions available Please note that this exhibition includes photographs of conflict and poverty, showing dead bodies and people suffering extreme conditions including starvation.


Don McCullin What I hoped I had captured in my pictures was an enduring image that would imprint itself on the world’s memory. - Don McCullin Don McCullin began taking photographs in 1958, documenting his surroundings and local community in his native Finsbury Park, London. In 1959 his photograph The Guvnors, a portrait of a notorious local gang, was published in The Observer, launching his career as a photojournalist. In 1961, McCullin travelled to Germany on his own initiative, funding the trip himself, to photograph the building of the Berlin Wall. The images he took won him a British Press Award and a permanent contract with The Observer. Working first for The Observer and then The Sunday Times Magazine, McCullin went on to capture major conflicts around the world from Vietnam and the Congo to Cyprus and Beirut. The exhibition includes some of McCullin’s most iconic and poignant photographs including Shell-shocked US Marine, The Battle of Hue 1968 and Starving Twenty Four Year Old Mother with Child, Biafra 1968. Alongside McCullin’s hand-printed silver gelatin prints, the exhibition also includes his magazine spreads, contact sheets, helmet and the Nikon camera which took a bullet for him in Cambodia.While McCullin has been best known as a photojournalist and war correspondent, he has also consistently engaged in documentary photography in Britain. For the presentation at Tate Liverpool the exhibition will


show additional photographs further depicting life and industrial scenes of Liverpool and other northern towns and cities during the 1960s and 70s. Having been born in a working-class family in London, McCullin identified with the most deprived parts of the north of England. He recognised his own origins in the poor conditions of those he photographed and was committed to the practice of ‘reporting back’ and publicly highlighting these areas that were largely unseen by the British middle classes. McCullin has also been influenced by the meditative landscapes of the British countryside, particularly Somerset, where he has lived for the past 36 years. Landscapes became a focus for McCullin from the 1980s onwards and he has immersed himself in the huge panoramas within walking distance of his home. McCullin’s most recent photographs for his book Southern Frontiers connect the two key strands of his work: conflict and landscape. For years, McCullin has been documenting the physical remains of the Roman Empire in north African and eastern Mediterranean landscapes, including the ancient site of Palmyra, Syria. He returned to Syria in 2017 to document the deliberate destruction and demolitions undertaken by the socalled Islamic State. The exhibition ends with these powerful works including The theatre on the Roman city of Palmyra, partly

destroyed by Islamic State fighters 2017.

Don McCullin’s Exhibition is touring to Tate Liverpool from Tate Britain where it was displayed 5 February – 6 May 2019. The exhibition was originally conceived by Simon Baker, Director of The Maison Européene de la Photographie, Paris, with Shoair Mavlian, Director of Photoworks, assisted by Aïcha Mehrez, Assistant Curator of Contemporary British Art, Tate Britain. The exhibition at Tate Liverpool is co-curated by Tamar Hemmes, Assistant Curator Tate Liverpool, and Aïcha Mehrez. It is accompanied by a fully illustrated catalogue.

Don McCullin Liverpool 8 1961 Tate Purchased 2012 © Don McCullin


Don McCullin The Guvnors 1958 © Don McCullin For over sixty years, Don McCullin has been continuously working both at home and abroad. It began in 1959, when a bold young McCullin strolled into the offices of the Observer with his photograph of London gang ‘The Guvnors’. They published the photograph of the Guvnors a few


weeks later That was the beginnings of my humble roots in photography. Sadly this start was based on the death of a policeman and capital punishment for the man convicted. He was called Ronald Harwood and was hanged in Pentonville Prison, not far from Finsbury Park. The jumping-off point for my whole life was based on a terrible act of violence and its consequences.

American Troops Looking across the Wall, Berlin 1961 ŠDon McCullin In 1961 McCullin travelled to Germany to photograph the building of the Berlin Wall. In the aftermath of the Second World War, Germany was split into four zones, controlled by Britain, the US, France and the Soviet Union. The three western areas formed West Germany. The Soviet-controlled zone became East

Germany. Berlin, located in the east, was similarly divided. The city, and the Wall in particular, became a striking symbol of the Cold War between the US, the Soviet Union and their respective allies, as both sides struggled for global supremacy. The fall of the Berlin Wall in November 1989 signalled the end of the conflict, and Germany was reunified less than a year later


Grenade Thrower, Hue, Vietnam 1968 © Don McCullin McCullin visited Vietnam sixteen times over the course of his career. Working on assignment for the Sunday Times he covered both the Vietnam War (also known as the American War) and its aftermath. The war was a protracted conflict running from 1954 to 1975. It pitted communist North Vietnam and the Viêt Công, their guerrilla allies in the South, against South Vietnam and their principal ally the US. The US and South Vietnamese forces relied on aerial warfare,


including the use of the chemical weapon napalm, which resulted in many civilian deaths. It is estimated that between 1 and 3.8 million Vietnamese soldiers and civilians were killed during the conflict. 58,220 US service members also died In 1968 McCullin spent eleven days with US troops during the Battle of Hue. McCullin begged to be sent over on assignment and was approaching Saigon (now Ho Chi Minh City) just as North Vietnam launched the Tet Offensive, a series of surprise attacks seizing southern territory, including Hue.

Shell-shocked US Marine, The Battle of Hue 1968, printed 2013 ARTIST ROOMS Tate and National Galleries of Scotland. Presented by the artist 2014 Š Don McCullin McCullin took some of his best-known images as the Americans were fighting their way into the Hue citadel. Dressed in US Army clothing, he was at risk of being shot by snipers, while US Phantom bombers were dropping napalm nearby. There was no escaping the ongoing fighting as the opposing forces attacked using grenades and machine guns at close range.

Eventually the US declared military victory, but the city was virtually destroyed. More than 5,000 civilians were killed and many soldiers lost their lives, which negatively affected the American public’s perception of the war. Images by photographers such as McCullin helped to inspire widespread demonstrations against US involvement and they have shaped Western perceptions of the conflict to this day. In 1973 American troops were withdrawn, and in 1975 South Vietnam fell to a full-scale invasion by the North.


‘Woods near My House, Somerset’ c.1991 Don McCullin After a lifetime of war, McCullin says he has now ‘sentenced himself to peace’. In recent years, the landscapes of Somerset, Scotland and Northumberland have been McCullin’s focus. Though this photography practice gives him a sense of tranquillity, it is clear that memories of conflict are


never far away. His photograph of wars have much in common with his images of the flooded Somerset Levels or Hadrian’s Wall. The jagged, torn earth and dark, metallic skies resemble battlefields rather than peaceful pastoral scenes. For McCullin, these landscapes are politicised too, a result of the constant closures of dairy farms and the development of green belt land.

He has known all forms of fear, he's an expert in it. He has come back from God knows how many brinks, all different. His experience in a Ugandan prison alone would be enough to unhinge another man - like myself, as a matter of fact - for good. He has been forfeit more times than he can remember, he says. But he is not bragging. Talking this way about death and risk, he seems to be implying quite consciously that by testing his luck each time, he is testing his Maker's

indulgence. -- John le CarrĂŠ If this was just a book of McCullin's war photographs it would be valuable enough. But it is much more., Sunday Correspondent


Summer Challenge Jeremy Lambert set us all a few demanding challenges to try out this summer.

In normal years the club takes a break for the summer and just before we break we have what started out as a treasure hunt and graduated to become a photo challenge. The idea was simple. Everyone went to a preselected spot, normally a loical town or village, made up into teams of two and set off to photograph the “clues” But this year Covid came and we got locked down so Jeremy came up with an idea.... Obviously we couldn’t meet travel or go to the pub afterwards to swap stories but he could stlll set a feindish challenge. Nan our President helpfully sugested that since we had nothing else to do and all summer to do it he shouldn’t make it too easy..

So its simple really just 10 tasks And all summer to complete them.



A Different Type of Portrait Contact Sheet. By Lynn Arstall


This challenge is aimed at giving you the chance to look at portraiture (and self-portraiture) in a different way. Portrait competitions concentrate on direct eye contact, a thrown out muted background and F5.6 at 125/1 sec.

artistic traditions which heavily uses symbolism, possessions that indicate power wealth or piety, the use of other people or animals. The relevance of the background or setting the subject in a chosen environment can have special importance.

When working for "customers" or taking portraits for a specific purpose ie advertising or commemorative portraiture, things can be very different - think of the

There are numerous modern portrait photographers to check out, Man Ray, Annie Leibowitz and Mario Testino are good for starters, also check out fashion, style magazines and television adverts for inspiration.


Still Life


Still Life images have always been a popular subject in the Art/Photography world. It is a discipline used to hone skills in lighting, composition and gaining the interest of the observer. In preparing to undertake a Still Life it is worth looking at examples form the Dutch 17th century (some are truly bizarre) as well as modern takes on the subject.

Your task is to create a set that will include subjects of interest ie fruit, ornaments etc, a suitable backing or setting and lighting.


A window on the world


The use of a window to look into a room, or out of a room, using the framing with the image gives a cipher that can generate a range of feelings ie melancholy, voyeuristic, optimism. Experiment with looking in/out of the window, have the window open or shut, look at the effect of rain drops etc. Think about the lighting, how you can use focal length and point of focus to produce an image that is intriguing and conveys an emotional feeling.


Nature at Home


Despite the virus, nature continues to thrive all around us. In your living space, house or garden, or viewed from a window, look for a living subject that shows nature in your environment. This covers a range of subjects- flora and fauna, insect, birdlife or domestic animals. Remember you have time to get this image so it may be an idea to start to attracting birds or other wildlife etc (if you don't already).Having hopefully identified a suitable subject spend some time

watching and thinking about how best to capture an image of nature in your living space.


Close up


The challenge here is to think about how you can create an interesting close up image. This is not just an exercise in seeing how close you focus on a subject. I want to see a composed image with an interesting focal point and with thought given to appropriate lighting. If you have a macro facility on your camera, a close up lens or a set of extension tubes, now is the time to use them.


Lose Your Focus !


At club meetings, a discussion on "is it sharp" is frequently raised. For this challenge, you can forget that! Find a way to disable the automatic focus on your lens and look round for subject to shoot. Without the focus facility, you will still be recording colour, some shape and other details. Think about what you are doing, as you experiment you will find that certain subjects give interesting results, develop an eye for what will work.

This is a genuine genre of photograph for inspiration and tips google “out of focus photography" or OOF.


Create a Cecil Beaton style image


The title is the task. Cecil Beaton was probably the most influential portrait photographer on the mid 20th century. If you learn from him, you will be truly learning from a master.

replicate this at home - this may be side lighting, table top lights or even a torch ! If you do own some photography lights use them. Think about reflectors and backlighting.

Take a look at his catalogue. It’s extensive and includes many images that are iconic and reference points for the development on portraiture. If you look at his use of lighting think about how you can

Then look at the settling- how can you create a suitable background that would grace an A list star? Your next issue is the model - probably yourself ! Its time to get your glad rags on and look the part.


Beauty in Lockdown


As a photographer you will endlessly be involved for the search for something of beauty to snap.

Then create a set up including lighting and angle to show off the item as an object of beauty!

In lockdown this may seem daunting but look through your everyday items and objects - many will include an aesthetic quality. Your task is to search for something that has a quality, that if photographed thoughtfully becomes a thing of beauty, think of lines, curves, detailing and finish that sets the item apart.

If you’re struggling with this one look at photo adverts of household objects, fruit or ornaments- they will be used to show things off at their most beautiful...‌.that's a big clue!


Food Photography


Many of us will have recipe books at home and in this period of lockdown you may have even used them! Books by celebrity chefs like Rick Stein, Nigella Lawson and Jamie Oliver use photos to show ingredients, process and finished dishes looking at their best.

spices, vegetable's, fresh ingredients or the details and textures of a finished dish. In setting this challenge I am expecting club members to produce a pristine image that show off photography skills at their tastiest !

Taking high quality images of these subjects is a genre in its own right. Think of colourful collections of


The letter Q


Use the internet or a dictionary to search through words that begin with the letter Q. Think about how you can use a word starting with a Q as the theme or inspiration for an image. The image as ever should be of the highest quality in terms of composition lighting and photographic execution. Perhaps the Q will feature in the title ?


Autumn Programme We continue to meet via Zoom and have a full programme planned for this Autumn

05.10.20 – Justin Garner – Macro 12.10.20 – Competition Results 19.10.20 – Steve Proctor 26.10 20– Andrew Moss – Sport Photography 2.11. 20 – Chasing the Light 2.11. 20 – Hand-in for the Annual Exhibition 9.11.20 – Claire – Olympus Ambassador 16.11.20 – Results Annual Competition, Nick Hilton 23.11.20 – Results Annual Competition, Geoff Reader 30.11.20 – Results Annual Competition, Ken Ainscow 7.12.20 – Presidents Evening 14.12.20 – Christmas Party

You need the Meeting Code and Password to attend. If you want to join and take part please Visit the Club Website WWW.BlackburnCameraClub.Co.UK and put your details in the contact form and we will contact you to let you in


Rear Cover Don’t Get Lost by Susan Waterhouse & Kath Lovak