RPS Northern News September 2019

NORTHERN

NORTHERN NEWS NORTHERN NEWS Issue 13

September 2019

Issue 11

March 2019

Northern Diary A quick preview of some of the events coming up soon Full details are on the RPS Website

12 & 13 October Smartphone Workshops, Corbridge* 25 October Street Photography - evening lecture at Whickham 26 October Street Photography Workshop in Newcastle-upon-Tyne* 10 November Pinhole Workshop at South Gare 17 November Distinctions Advisory Day at Newton (Full for participants spectator tickets only ) * these events are full. Contact Carol for possible cancellations.

All bookings should be made via the Northern Region Events page on the RPS website

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NORTHERN NEWS

Message from

Issue 13 September 2019

Carol Palmer ARPS Regional Organiser Northern Region

THE NORTHERN TEAM Regional Organiser Carol Palmer ARPS northern@rps.org Deputy Regional Organiser Geoff Chrisp ARPS Treasurer Bob Turner ARPS Secretary Bob Gates ARPS northernweb@rps.org Cover Image Š Tim Moor LRPS NORTHERN NEWS INFORMATION Š 2017 All rights reserved on behalf of the authors. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the written permission of the copyright holder. Requests for such permission must be addressed to the Editor.

The Royal Photographic Society, Northern Region and the Editor accept no liability for any misuse or breach of copyright by a contributor.

The views expressed in this magazine are not necessarily those of the RPS or the Northern Region.

Editor: Bob Gates ARPS northernweb@rps.org

Dear Members, Congratulations to Tim Moor, Gloriana Morehead & Michael Curry in gaining their LRPS distinction.

You will see the quality of their portfolios in this newsletter.

News has just reached us from RPS HQ in Bristol regarding the recent ARPS assessment days for Travel and Nature. Congratulations to Geoff Chrisp (Travel) and Julia Richardson (Nature) who have both been successful.

If you are interested in distinctions, we have spaces for spectators at our next Advisory Day is on 17th November. These days are an excellent opportunity to see a selection of successful panels from LRPS through to ARPS. Booking is via the Northern website.

We have several workshops over the next three months but only have places left on the Pinhole workshop. See the Northern website for more details if you are interested.

This is our penultimate newsletter from the current Northern team as the Region will have a vacancy from January 2020. I am sure there are many of our members who could take on the Regional Organiser role quite easily and continue to bring exciting events to our members, so if you are interested in more details then please get in touch at northern@rps.org.

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Distinction Success Story Tim Moor LRPS In 2013, I was hit by a car at speed from behind whilst cycling and suffered a mild traumatic brain injury. In addition to other symptoms my greatest challenge was the chronic migraine suffered on an almost daily basis. The constant migraine left me unable to cope with loud noises, bright lights and busy environments.

I found early morning walks provided the peace and quiet needed and lived in the Lake District at the time, so I would take the dog with me and sit on top of the fells watching the sunrise which sparked a desire to capture what was around me.

Although I have always enjoyed photography, I can't remember why I picked up my camera shortly after the accident. But, my wife Georgie reminded me that I kept questioning what if I have lost my ability to be creative? I thought that photography was something I could do that would not hurt my head in an attempt to try and answer the question.

As time went by, I started to find that everywhere I walked I wanted my camera with me and started planning trips and purposefully going out to places to photograph. In 2014, I decided to invest in my hobby and bought a Canon 5D MKIII (now a 5D MKIV) with lenses, Lee filter system and tripod.

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With the camera, I found it very calming and relaxing. For landscape photography, I have found that once you know how settings work and can identify your preferences to help create a style, the settings and technical setup for each shoot tends not to vary too much.

In my opinion, this makes for a more relaxed lifestyle and means you can enjoy the moment focusing more on the creative aspect of photography like seeing the picture you want to capture trying to make best use of the light. I love landscape photography but if an animal that looks interesting happens to be in the vicinity, I swap lens and spend some time observing them like the occasional seal who joins me for sunrise.

In the last year my migraine have subsided which means I can go out even more with my camera and am keen to explore many places.

I have had no classical training in photography. Some of my work has been exhibited in art gallery shows generating a few sales which I am delighted about. But, I wanted to have my work technically validated by experts in photography who could impart knowledge and advice on how to improve as a photographer.

This is why I joined the RPS, to join a community of photographers who could share knowledge and advice. By putting my work forward for the LRPS distinction, I hoped to receive constructive critique helping me improve, and, I feel achieving the distinction validates my technical skills and approach helping me progress.

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Congratulations!

Congratulations to Morpeth member Glyn Trueman, a winner in the recent RPS 365 Monthly Competition.

Glyn says, "Living in Northumberland, I try to visit the Farne Islands each summer to photograph and observe the seabirds that breed there.

This image was taken on the Inner Farne in late June when the puffins were bringing in sand eels to feed their young. This puffin had returned with a beakful of fish and was spending time on the wall surrounding the lighthouse before going to its burrow.

For this image I used a Panasonic DC-G9 camera with a Leica 100-400mm lens at 400mm. The exposure was 1/800 second at f/7.1 with the ISO set at 200".

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My Route to a Society Distinction Gloriana Morehead LRPS I came rather late to photography. My husband Bill and I were keen walkers and experienced coastal and offshore sailors so when we sold our boat, French Melody, I knew I would need a new hobby. I had always had a small camera on board to record events but could only use Auto so I decided that I would try my hand at photography and acquire a new skill.

I started with three back-to-back twelve week courses - Beginners, Intermediate and Advanced at my local college. By the end we had an introduction to history, photographic greats, camera control, rules and conventions, working to a brief, post-processing and mounting and had put on two exhibitions. After this three of my colleagues opted to do a degree in photography but since I could not commit to three years of travel and study my tutor told me that LRPS was another option and outlined how to go about it.

In the meanwhile I continued to read, changed my camera to a DSLR and extended my experience. My personal style started to evolve and I realised that what I preferred most was outdoor, natural light, colour, texture, cameo scenes and close up.

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Sometime later I found an article on the internet by Ilya Fisher recounting her experience on the Open University course T089 and her subsequent gaining LRPS and I kept going back to her panel and others’ on the RPS site for inspiration. This course runs on peer review and participants submit ten images as per a brief each week. Their final panel of ten together with a written submission is then assessed by an OU course tutor. I found it to be just what I needed at the time to increase my confidence and fill gaps in my knowledge. Because I gained high marks I was given a free pass to an LRPS Advisory Day and three of my images were accepted for the T089 gallery on the RPS site.

Eventually I got together a panel of ten with five spares and attended an October Advisory day in Northumberland. I was quite apprehensive about the day and wondered how it would transpire.

There was already a successful LRPS panel on the stands and I began to feel somewhat anxious.

However the opening statement put me at my ease. My panel was said to be well balanced and with good print size and with a good eye for detail and composition. But there were also things to work on – lift luminosity on several, remove some spots and swap in two spares.

I returned for one-to-one advice in March 2019 and comments were - good technique and design, well presented and panelled and well balanced. There was a small technical issue with image 3 and image 10 but otherwise the panel was ready.

After a reprint they were all packed up and sent to Bristol for June 2019 Assessment Day. On 5th June by 5pm I had an email saying I had been recommended. Delighted and relieved!

I had been working on two plans. What would I do if I failed – or succeeded? I have now made up my mind to go on to the next step and am in the throes of deciding on a theme. This time I shall be starting from a firmer and more confident base.

Grateful thanks to all involved who helped and encouraged me and especially to Bill my Roadie who carries my gear and drives me around.

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My Path to LRPS Michael Curry LRPS I first became interested in photography in my early teens but due to pressure of education, career and family life my level of involvement was a little erratic. About 9 years ago with more spare time and the growth of digital photography I started to devote more time and effort into furthering my knowledge and improving my skills. Participating in local evening classes I learned about preparing portfolios with the specific aim of attaining RPS distinctions, this inspired me to take this path I attended an advisory day in September 2017 at Newton Community Hall and following invaluable critique and advice rebuilt my portfolio, this was then presented at an advisory day in October 2018 again at Newton. I was advised to change one image and to consider making slight adjustments to the printing of several other images, it was also noted that two images were not the strongest, but otherwise the panel was suitable for submission Following reprinting of three images, the change of two others and rearrangement of the layout I submitted the portfolio for LRPS assessment in March 2019.

I was notified that the application was unsuccessful but the Panel felt the submission had merit and was close to the Licentiate standard and therefore I was invited to resubmit taking the feedback into account. I replaced the images of concern, taking care to maintain the overall effect of the portfolio, and resubmitted for a successful result in July.

I would certainly recommend attending an advisory day for advice on any potential submission as the feedback is invaluable.

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Northern Region will have a vacancy for a Regional Organiser from 1.1 2020 The RO is the interface between RPSHQ and our members.

The basic role of the RO is to provide members with a distinction advisory day each year as well as two newsletters. However over the last 3 years the region has introduced a series of excellent workshops by experienced photographers, guided walks within our amazing geographical location and talks by inspirational speakers. These events have been fully subscribed which shows that our members want and like this type of programme.

The new Regional Organiser could continue with this type of events or introduce others which will keep the region moving forward and abreast with changing trends in photography and ensure we provide the members with the best that we can.

We have a very supportive region and the role of RO is rewarding giving you and your team (Secretary & Treasurer) the opportunity to develop your roles to ensure a varied programme for the membership. It is not location dependant as long it is within our geographical area.

I am sure that there will be members who would like to take on the challenge of these roles so do not hestitate to contact me if you would like to discuss them further. Email me at northern@rps.org

Carol Palmer ARPS Northern Region Organiser

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Rollercoaster Ride for Jeremy Griffiths LRPS I have been taking photographs for about sixty years starting with the ubiquitous Kodak box brownie (which I still have!) but never with any great purpose as to what I took, I felt I needed some structure, mission, aim or whatever you wish to call it then a few years ago the Open University in conjunction with the RPS offered a short course on digital photography also designed as a lead-in to the LRPS Distinction, as an ex-OU student this was ideal for me.

Having successfully completed the OU/RPS course I started my LRPS journey by attending an Advisory Day in October 2017 as a spectator, this was indeed an eye opener as what I thought seemed very credible panels were politely but constructively given the thumbs down or thumbs sideways. To be fair a few were recommended for assessment but I looked at the quality of these in awe however undaunted I set myself a target of Spring 2018 to attend another Advisory Day this time with a panel, as an incentive I booked and paid for it well in advance.

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I had a few existing images which I thought were possibilities and indeed they did find their way into the eventual panel however the majority were taken specifically for the distinction, this is easier said than done as you always have to keep in mind the need to produce a coherent panel for assessment.

The Advisory Day was somewhat nerve-wracking as I watched what I considered to be excellent panels go through the mill with varying degrees of success before I found myself in the hot seat, I received very useful feedback and having swopped one or two images with my spares I was advised to apply for assessment. Alas at the assessment in May 2018 I didn’t make the grade with three of the images not considered up to standard but on the positive side seven were.

I then took the best part of a year to re-think the panel and during this process switched to entirely mono as I felt it more appropriate to the subjects I was taking then in March 2019 submitted a revised panel for assessment and held my breath, the result was a Referral which means nine of the images were fine but the tenth wasn’t as it had a slight technical imperfection, I corrected this and in June 2019 was awarded my LRPS Distinction.

The process was certainly a rollercoaster ride for the emotions, but many thanks are due to Northern Regional Organiser Carol and the advisors at the Advisory Days, they really do know what they’re talking about! ARPS? My thinking cap is on!

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Elements of Movement Pauline Pentony ARPS

In my younger years I was a successful dancer, dance teacher and choreographer. Forced to retire from dancing due to a long-term injury I took up photography as a hobby over 10 years ago and decided to explore the art of Dance photography, becoming the Choreographer behind the lens.

Having been a dancer and choreographer I feel I have a great eye for movement, timing and beauty.

So, as a dance photographer, I have a clear understanding of my subject, whilst being a little different from other photographers this path for me seems to be a natural one. I have worked with dancers in and around the North East of England all my life. The work I produce captures the dancer’s movements and their creativity.

My photography is diverse and encompasses photographing actors, dancers, experimental dance photography, theatre companies, rehearsal shots, location and studio photography, commercial dance photography, sport, dance schools and events.

As an artist, I seek to develop and capture the beauty of dance through the dancers techniques and elegance. I have evolved my ideas and interests in both photographic studios and during stage performances, the narrative in my images is capturing the explosive movement of the dancers, using their extraordinary techniques with an element of their own dramatic narrative. I thrive to capture a dancer in a certain way, but not always to tell a story, yet, to capture that energy and emotion should tell its own story to the viewer.

I often experiment with different elements such as powder, water and fabric. The trained dancers bring amazing techniques that are beyond our imagination. As a visual artist I find myself constantly envisaging beautiful things and planning how I can turn them into images, I can only use my camera to capture the dance world that is around me, thus allowing me to share my images.

Being a dance photographer is about picturing the whole story, having the ability to see the shapes, lines, energy and emotion of each individual dancer, knowing each dancers’ strengths and abilities and having the ability to direct dancers so as to get the very best they are capable of. I strive to tell a story about the performance, energy and their technical skills through my images.

I find my audience are curious about how I create an image so on occasion I have done practical workshops for local camera clubs where the audience have witnessed how I create my images, they witness that remarkable moment I release the shutter and capture the image.

I will continue to push myself forward, enhancing my style, keep exploring new ideas and mature as a dance photographer.

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Following my dream, I am hoping to open my own studio in the Darlington area in the near future catering for all types of family photography as well as workshops and of course, dance photography. I aim to have a large backdrop with the capacity to photograph groups of dancers, allowing more creativity in a friendly and relaxed atmosphere.

Equipment used: Nikon D800, Nikon 28-80mm, 2 X Bowen studio flash with soft boxes overhead, a range of black and white reflectors to soften the shadows and a Bowen wireless flash trigger.

Camera settings: Shutter speed 1/125 sec. at f/11.0, ISO 100.

Processing in Photoshop Adobe CC. See more of Pauline's work at www.PaulinePentonyPhotography.co.uk The following image was shot during an open air evening session in my back garden. A set was built similar to the set for Cascade only this time it was a powder shoot. The team was briefed as to their roles and each armed with 5Kg of self-raising white flour!

The idea was to give the dancer ‘Wings’ using her own movement and flour. The dancer took her place and flour was sprinkled along her arms to a depth of about 10mm and into her hair, she was then asked to raise and lower her arms in quick time, the pattern of wings was there but did not have that defining edge. It was decided that she would take two handfuls of flour and release it as she was raising her arms. After several attempts the final image was in the bag.

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CASCADE. This image is one of a series featuring water and dance. The inspiration came from the film Flashdance.

Shot in a back garden the image presented its own problems, the biggest being the background, because of the size required I had to use builders black plastic sheet draped along the side of a garage and along the ground over four pieces of wood placed in a rectangle to produce a shallow pool just three inches deep. Two Bowens 500w strobe lights with soft boxes were set at 45 degrees to the dancer, again safety was paramount as electricity and water don’t mix. During test shots it was found that the plastic sheet was bouncing light everywhere so to overcome this the backdrop was pulled out so that it was at about 45 degrees, thus reflecting all stray light upwards rendering the background totally black.

Lighting was set on full power so that they could be positioned as far back from the water as possible with the key light being three feet closer.

Test shots were made to determine the amounts of water and where it was to be aimed to produce the desired effect.

So with all the team briefed everyone took their places, one with water at each end and one up the steps handling the material, at first we were trying to keep the material dry so it looked like it was blowing in the wind but it got wet and this image is the result of the second trial shot with wet material.

The shoot took several weeks in preparation but well worth the effort.

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Diagram showing the set Camera: Nikon D800 Lens: Nikon 28-80mm @ f8, 1/90sec, ISO140

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The second image was taken during a studio shoot, I wanted to experiment with two dancers using flour but needed a lot more movement in the image. The dancers ran through a range of movements and it was decided that a leap and a balance would be the best combination. Flour was again placed on the dancers and this time we had two flour throwers, one at each side who’s job was to throw flour at the dancers at the top of the movement, in my chosen shot the combination of the dancers movement and the throwing of the flour resulted in a vortex on the right hand side of the frame which added an extra burst of movement adding balance to the image.

The next three images were shot in a studio, I wanted to portray a ballet dancer in a sort of Romanesque pose who appeared to be alone with her thoughts. The image was shot firstly using one key light from the right and a reflector from the left to fill the shadows, while the image was ‘acceptable’ it didn’t have the punch I was looking for.

A studio flash with red gel was place behind the dancer to provide a rim of red light down the left side, the power was then adjusted in order to balance the image.

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FLAIR

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In this next shot the dancer wearing a romantic Tutu is jumping while she has hold of her dress lifting it up high as she jumps. The image was then loaded into Photoshop CC using milk splashes which were on their own individual layers, these layers were positioned so that the dress appeared sculptured in milk, the amount needed to get the final image was in excess of fifty layers.

Liquidize 31

This next shot is another Photoshop creation, the dancer was asked to jump whilst being wrapped in a red sash, after doing several different jumps it was this one which came closest to my visualization of the finished image. The image was loaded into Photoshop and underwent a series of different processes including layers, different brush tools and free transform tool. Consisting of approx. 20 layers the image was assembled and final adjustments made.

Mirror Box All the images shown here have been entered into various International Photographic Salons worldwide and have all been awarded numerous Gold Medal Awards. I would like to thank all the dancers and the backroom crew who have made these images possible.

Dancers: Jenny Gladstone Blake Wilson Caitlin Godfrey Hope Godfrey

Crew: Ray Hancock Adele Wilson Peter Lycett Eddy Bishop 32

From The RPS Collection at the Victoria & Albert Museum, London Cundell's Calotype Camera 1844

George Smith Cundell (1798 - 1882) was born in Leith, the eldest of four brothers. In 1820 he moved to London and met fellow Scot, engineer James Naysmith. During the 1840s, George Cundell devoted his extensive scientific knowledge to photography.

William Henry Fox Talbot had patented his Calotype process in 1841, however there were no detailed instructions on how to work the process.

In 1844 Cundell wrote the first definitive practical account of the Calotype process, published in The London, Edinburgh and Dublin Philosophical Magazine in May. Cundells Camera (1844) was made in the conventional sliding-box pattern and was the first camera to have internal baffles to minimise reflections. It was the first to have a lens hood, which he called an 'elongation of the mouthpiece'. It had two focussing scales, as with this simple lenses at the time, different coloured light was focused at different points.

In 1845 the camera was being advertised by George Knight and Sons of Cheapside, London for ÂŁ2.12s.6d. - about ÂŁ375 in today's value.

Bob Gates ARPS 33

© Michael Curry

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