RPS Creative Eye Newsletter 1

rps.org/creativeeye

CREATIVE EYE GROUP

eNEWSLETTER July 2018 / No. 1

CONTENTS FEATURES 02 | VENICE CARNIVAL Angela Ford ARPS

03 | DESIGN IN PHOTOGRAPHY Nat Coalson ARPS

04 | A PICTURE OF LILY Nigel Rea ARPS

05 | PHOTOGRAPHY INTERESTS AND ACHEIVMENTS Steve Geer ARPS

Wall 13, Jeremy Rodwell ARPS

EVENTS

Hello

PROFILE

STEVE VARMAN LRPS Steve joined the RPS in 2015, gaining his LRPS in 2016.

Commended and included in the International Garden Photographer of the Year book (6). The Royal British Legion has used Steve’s photograph of a poppy to represent remembrance concerts since 2012.

w: rps.org/creativeeye facebook.com/groups/rpscg flickr.com/groups/rps-creative e: creative.publications@rps.org

© 2018 All rights reserved. The copyright of all images and text contained in this publication belong to the authors. No part may be reproduced or transmitted without written permision of the copyright holder.

06 | HOUGHTON HALL & GARDENS

When I first started my photographic journey in earnest, I had an insatiable appetite for knowledge and inspiration. Studying photography with the Open College of Arts gave me a good foundation - and it helped me think about my photography. However, it was looking at what other photographers were doing that gave me the inspiration to go out and try for myself - and I’m ever grateful for those photographers who are willing to share their images, tips, tutorials and thoughts - living in the information age certainly has its benefits!

This is the Creative Eye Group’s inaugural eNewsletter and along with our printed Creative Eye magazine we hope to bring you some inspiration too. As well as keeping you up to date with events, we are also showcasing the amazing talents of you, the Creative Eye Group membership. To help us achieve this, we want your contributions.

We want to hear about your stories, projects and distinction successes.

If you would like to submit something for either the eNewsletter or Creative Eye magazine, please send it to me at creative.publications@rps.org.

Steve Varman Editor 1

Field trip

07 | LEIGH PRESTON Lecture by Leigh Preston FRPS EFIAP MPAGB FIPF

07 | ROYAL BOTANICAL GARDENS EDINBURGH Field trip

08 | KEW GARDENS Field trip

08 | NAT COALSON

Lecture by Nat Coalson ARPS

DISTINCTIONS FRPS May 2018 Roy Wagner LRPS April 2018 David Ashfield Reginald Clark Peter Coleby Jenny Hodd Martin Heathcote David Smith eNEWSLETTER July 2018 / No. 1

Venice Carnival

By Angela Ford ARPS EFIAP

I

Queen of Hearts

Time Traveller Venice

Fantasy Morning

had never been to Venice before, so the opportunity to go on a photographic trip to the Carnival, was too good to miss.

On the first evening we had a laid-back stroll around the canals, no need to take cameras! But we couldn’t resist those iPhone shots.

The next three days our feet didn’t touch the ground, ducking around the back streets of Venice, jostling with other photographers in St Mark’s square just before dawn. Also seeking out the ‘Masks’, carnival goers of different nationalities who dress up in the most marvellous costumes. They stroll around all day just waiting to be photographed, so no need to be shy with your camera. We even found a French couple posing on Burano where the colours of the houses and reflections in the water held our attention for a long time.

For me, although the colours and styles of the costumes worn by the Masks provided photo opportunities in abundance, I wanted to create an air of mystery and diversity at the carnival. After all, there was no knowing who was behind the mask, male, female, young or old. By using monochrome and other effects I wanted to evoke another side of Venice during the carnival.

2

eNEWSLETTER July 2018 / No. 1

The Importance of

Design in Photography

By Nat Coalson ARPS

H

ave you entered images into a competition or juried exhibition and been disappointed with the results? Or, when you share your photography with other people, is the reaction not what you expected?

Of course, photography - like all art - is subjective and beauty certainly ‘is in the eye of the beholder’.

But if there consistently seems to be something lacking in your photography, a new approach might be worth consideration. To consistently make stronger photographs, you need to apply a design methodology to your image-making. Design is just as important in photography as it is with other creative works. A design process includes identifying and solving problems, making conscious choices and working to achieve a specific outcome. Of course, photographic design does include composition but extends far beyond this (see the box on the right).

Most people seeing your work won’t recognise the influence of design (though judges certainly will) yet a well designed photo will certainly achieve greater impact and engagement with viewers. When you start practicing photographic design, your images will immediately become more successful.

Developing your seeing skills and ‘visual vocabulary’ is a crucial aspect of making effective photographs, and the most direct way to accomplish this is to apply a design process. You will more consistently create truly expressive images and your viewers will respond more enthusiastically to your work.

Also of crucial importance are

• an intimate understanding of, and interest in, your subject • practicing mindfulness and conscious awareness • pre-visualisation of each finished photograph • reading light and using it to the best effect • accurately seeing elements within the frame and how they interact • creative post-processing using an efficient workflow • high quality presentation of the finished work • and much more.

‘you need to apply a design methodology to your image-making’

PROFILE

NAT COALSON ARPS Nat Coalson is a professional fine art photographer, acclaimed teacher and director of PhotographicDesignWorkshop.com, the online coaching programme for photographers of all kinds. To learn more and to see Nat’s work visit NatCoalson.com.

Ready for the Festival, Nat Coalson 3

eNEWSLETTER July 2018 / No. 1

A Picture of Lily

Lily; after Leonardo, Nigel Rea

By Nigel Rea ARPS

“Creativity takes courage” Henri Matisse

“Learn the rules like a pro, so you can break them like an artist” Pablo Picasso

T

hese quotations come to mind when you produce an image you really like and, well, it gets a pretty mixed reaction when it is put in front of some judges.

Remember how this process happens? After scanning through thumbnails you spot a frame that has potential, not in its current form, but something that can be worked up, looks different and might stand out from the crowd. You spend time considering the creative and visual possibilities such as composition,

colour palette, the treatment you will give the image and the look of the finished print. It is time to work on it.

The original image of Lily was taken in a pensive, unguarded, moment during a shoot. There was very little light but her gold-coloured eye shadow stood out in the gloom.

It had a feel of a Leonardo da Vinci painting and the angle, lighting and mood of the image suggested a different approach to the regular portrait. So I cropped her head and positioned it to the far left of the frame with a black void behind her, my interpretation of the strong emotional feel of the subject and the image.

After producing a satisfactory print it was titled Lily; after Leonardo and entered into the next suitable club competition. Finally it comes before the judge. The verdict? Lily bombs. The judge doesn’t get the intention, the historical link or the context and marks it low. Not to 4

be discouraged, it is chosen for an interclub battle and fails the critical test again as the judge takes delight in pointing out what he considers are compositional flaws and lack of detail in a third of the print. Another low score and you feel you have let the club down.

As a final throw of the dice I entered it along with three other prints for consideration for the Creative Eye Group 2018 Exhibition.

Under the Exhibition Rules, every CEG member who enters will automatically get at least one image accepted, but which one of the four will be chosen in the first round of judging? Without hesitation Lily is chosen. At the exhibition at Wingfield Barns an enlightened visitor wrote in the visitors’ book that it was her favourite image and mentioned that she liked it because “it broke the rules”. So sometimes it does pay to heed the words of the masters! eNEWSLETTER July 2018 / No. 1

Photography

Interests and Achievements

By Steve Geer ARPS

stevegeer.com

W

Images by Steve Geer

hen I look at a photograph I like to imagine.

I want you to imagine too. To help provoke the imagination, my photography often contains a little bit of abstraction.

I was made in England and grew up English.

Moving to Switzerland, I remained English. Then I crossed the Atlantic and became an American. I ended up in Chicago and that’s where I do my photography. I plan carefully, but my best work sometimes starts by happenstance when I see some everyday thing in a new way. I get an adrenaline rush when it all falls into place in the viewfinder.

I’ve written articles for photography magazines and had my work published in books and exhibited in photography galleries. I am currently represented in the Perspective Fine Art Photography Gallery in Evanston, Illinois.

I gained my ARPS distinction in November (my ARPS panel can be browsed from my RPS profile).

There was an article about the Associate images in the December RPS Journal.

A couple of other notable things from the last few months: In December my work was featured in the Silvershotz Annual Folio. I had a featured exhibition at the Perspective Gallery in February and in March I was one of two award-winning photographers for the Flowing City book project (Trieste Photo Days 2018) to be published later this year and exhibited in Trieste Airport.

My favorite photographer quote is from photographer and filmmaker Elliott Erwitt who said of photography: “I’ve found it has little to do with the things you see and everything to do with the way you see them”.

5

eNEWSLETTER July 2018 / No. 1

FIELD TRIP

ahead. Drive through the main gates and follow the drive through the deer park to the car park.

We will meet at the Stables Café from 11.15 and depart Houghton Hall at 17.00. If the weather is good, there are tables available outside, otherwise we will meet inside the café. Please look for the Creative Eye Group sign.

Entry fee to Houghton Hall is £18.00 (£5 for members of the Historic Houses Association) per person, which includes the Damien Hirst exhibition.

The car park fee is £3.00. Entry to Hirst’s exhibition is timed and the person on the gate will issue you with a timed ticket. This means we will not be able to visit the Exhibition in a group, although as there is no set time for leaving the house we can stay as long as we wish and meet up inside. You may also choose to pre-book your exhibition tickets via the Hall website.

HOUGHTON HALL & GARDENS

Eve

nts

Sunday 8th July 2018

The Creative Eye Group is organising a trip for members to Houghton Hall and Gardens on Sunday 8th July 2018, led by Jeremy Rodwell ARPS. Houghton Hall in North Norfolk is one of England’s finest Palladian houses, which offers superb photographic opportunities. The gardens include a five acre walled garden, endless topiary, a white deer park and hundreds of acres of beautiful grounds. A series of Damien Hirst’s “Colour Space Paintings” are on display in the State Rooms, providing an excellent opportunity for creative photography against the Eighteenth Century furniture and decorations. Outside is a selection of Hirst’s famous and often enormous sculptures.

Refreshments and Lavatories: Apart from the main café in the stable block, there is a pop-up cafe in the main grounds with outside seating.

There are various seats and picnic tables available for people bringing packed lunches. Lavatories are located in the stable block and there is another near the main house.

Photography inside the Hall: Photography is allowed inside the Hall, but you will not be allowed to use a tripod or flash. Backpacks must be taken off the back and carried. It may be sensible to leave tripods, flash and extraneous kit in the car when going inside the Hall. The car parks are not a long walk away. There are opportunities for creative panoramas, and even videos, as some of the Hirst installations are mobile.

Photography outside the Hall: Photography is allowed anywhere in the extensive public areas and gardens outside, where there are good opportunities for wide angle shots and panoramas, and detailed macro work.

Event Leader: Jeremy Rodwell ARPS Mobile: 07799 043432 If you would like to book a place on this trip, please contact Jeremy at jrmailbox@gmail.com by Sunday 1st July. First, please download, read and accept the Participants’ Notes

Damien Hirst Sculpture, Jeremy Rodwell

Location, Timing, Costs and Restrictions: Houghton Hall (see address below) is located half a mile off the A148 King’s Lynn to Fakenham road, approximately 13 miles east of King’s Lynn and 10 miles west of Fakenham. Brown tourist signs indicate the turning off the A148. The road takes you through New Houghton and the main gates to the Hall are straight

Address: Houghton Hall, Bircham Road, King’s Lynn PE31 6TY. Further information about Houghton Hall and Gardens can be found at www.houghtonhall.com Telephone number: 01485 528569 6

eNEWSLETTER July 2018 / No. 1

LECTURE

LEIGH PRESTON FRPS EFIAP MPAGB FIPF

Saturday 6th October 2018 Time: 10:00 to 16:00 RPS member £10:00 Non-member £15:00 Foxton Village Hall, Hardman Road, Foxton, Cambridge CB22 6RN Leigh will be talking about the ‘Art of Seeing Pictures’ in the morning and after lunch (please bring a packed lunch) we will be treated to images of street life; photo journalism; travel; portraiture; landscapes and much more.

To book a ticket please go to rps.org/creativeeye click on ‘Events’, select the Leigh Preston event dated 6 th October 2018 and choose ‘Book by Post’ or ‘Book online’.

For more information please contact event organiser David Ryland ARPS creative.eventorganiser@rps.org Tel: 01953 850637

Images by Leigh Preston

FIELD TRIP

Royal Botanic Garden Edinburgh Wednesday 17th October (10.30am to 4.00pm) The RPS Creative Eye Group and the Edinburgh Photographic Society Field Trip.

Join us on this interesting day out, exploring the beautifully landscaped grounds and magnificent glasshouses, where you will find many photographic opportunities. Admission to the Gardens is free, but glasshouse admission charge is £6.50 (Concessions £5.50 - RBGE members free).

Meet at The John Hope Gateway at 10.30am –11.00am Bryum Capillare, Sandy Cleland FRPS

Royal Botanic Garden Edinburgh, Inverleith Row, Arboretum Place, Edinburgh EH3 5LR.

If you would like to book a place on this trip, please contact Moira Ellice ARPS at creative.chair@rps.org First, please download, read and accept the Participants’ Notes

(Details of the trip will be available on the Creative Eye Group’s website and in September’s edition of the Creative Eye magazine) 7

eNEWSLETTER July 2018 / No. 1

FIELD TRIP

Equipment: Any type of camera will be suitable, but one with a close focusing capability would be very useful.

If you are using a DSLR or mirrorless camera, then a lens which covers a range from moderate wide angle to a medium telephoto is often very effective in this location (for example: in APS C format, a good range would be something like 18mm to 135mm). If you have a dedicated macro lens, then it is worth bringing it along.

You are not allowed to use a tripod in the glasshouses at the weekends, but you can use it on other locations outside these buildings if desired.

KEW GARDENS Saturday 27th October The Creative Eye Group is organising a practical activity for members at Kew Gardens on Saturday 27th October 2018. It will be led by David Jordan FRPS and Joan Jordan ARPS; David has been a Finalist in the International Garden Photographer of the Year in 2016 and 2018 and both have enjoyed many visits to Kew and are familiar with its photographical potential.

The day will include visiting the key glasshouses of this world leading botanical garden: The Palm House; the recently re-opened Temperate House; the Princess Diana Conservatory; and the Water Lily House, in addition to other locations on the site. Photographic assistance and general guidance can be given to anyone who requires it.

Transport and Accommodation: Kew Gardens is easily accessed by rail, underground, bus and by road, with limited parking outside the gardens on the road. There is a small car park as well.

If you want to stay in the area before or after the event, then we recommend the Travelodge at Kew Bridge, which has also got very good and reasonably priced (£6.00 per 24 hours) parking facilities.

Alternatively, there is a Premier Inn nearby which has limited parking facilities.

You will be responsible for your own transport arrangements to and from the venue and any overnight accommodation that you choose to book.

Information about Kew Gardens can be found at kew.org If you choose to participate in this trip, then please email daveandjoanjordan@yahoo.co.uk, so that we will know who to expect on the day. First, please download, read and accept the Participants’ Notes

Autumn Kew, Steve Varman

LECTURE

Location, Timing and Costs: We will meet at the Victoria Gate, Lichfield Road, Richmond TW9 3JR at 10:00am and depart at 6:00pm.

Nat Coalson ARPS Thursday 13th December 2018

Entrance to Kew Gardens, costs: Adults: £17.75 at the gate (online £16.00 in advance), not including a further contribution to Kew Gardens.

Concessions: £15.50 at the gate (online £14.00 in advance), not including a further contribution to Kew Gardens.

Time: 7.30 pm RPS and SPS members: £3.00 Non-members: £4:00 Nat presents his talk “Abstract Photography as Fine Art”

You are responsible for booking your own tickets for this activity. There are no other fixed costs for this event.

Smethwick Photographic Society Clubrooms, The Old School House, Oldbury, West Midlands B69 2AS.

We intend to have lunch at the Orangery Restaurant, located near the Elizabeth Gate at about 1:30pm.

Please bring sufficient funds or bring a packed lunch with you if you wish. There are plenty of places to buy drinks, but please bring your own if preferred.

Creative Eye Group Joint Event with Smethwick Photographic Society For more information please contact Judith Parry ARPS, judith.parry@blueyonder.co.uk 8

eNEWSLETTER July 2018 / No. 1

Final Word

T

hank you for reading, and a big thank you to this edition’s contributors. We welcome submissions from Creative Eye Group members, so if you have a distinction success, story, image or a project that you would like to share (for either the eNewsletter or Creative Eye magazine), please let us know. Feedback is very welcome and gratefully received, please send your comments and suggestions to the editor.

The submissions deadline for the next issue of the Creative Eye magazine is 02/08/18.

CONTACTS Steve Varman (Editor) creative.publications@rps.org Website rps.org/creativeeye Social facebook.com/groups/rpscg flickr.com/groups/rps-creative

Š 2018 All rights reserved. The copyright of all images and text contained in this publication belong to the authors. No part may be reproduced or transmitted without prior written permision of the copyright holder.

The Royal Photographic Society, Fenton House, 122 Wells Road, Bath, BA2 3AH, UK t +44 (0)1225 325733 www.rps.org VAT Registration No. GB 753 3057 41 Registered Charity No. 1107831