Canadian Camera Magazine Summer 2010

O F F I C I A L P U B L I C AT I O N O F T H E C A N A D I A N A S S O C I AT I O N F O R P H O T O G R A P H I C A R T

Civil War Re-enactment: The Battle of Port Gamble The Silk Road - A Dream Fulfilled •Shooting the Stars in NYC The Colours of Havana • In This Church of Bones My Year of Full Moons • HDR

SUMMER 2010 • $7.95

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Vol. 11, No. 2 โ ข Summer 2010

Contents

Sheena Wilkie

Editor-in-chief 14220 71 Ave. Surrey BC V3W2L1 E-mail: editor-in-chief@capacanada.ca

Allen Bargen

Publishing Editor

Jozef VanVeenen

Art Director E-mail: info@tikit.ca

Roger Partington

Advertising Manager E-mail: roger@coherentb2b.com

CANADIAN CAMERA (ISSN1206-3401) is published quarterly by the Canadian Association for Photographic Art, Box 357, Logan Lake BC V0K 1W0. No part of this publication may be reproduced in whole or in part without prior written permission of the publisher and author. All photographic rights remain with the photographer. Opinions expressed are those of the individual contributors.

Articles and photographic portfolios are welcomed from all CAPA members. All articles should be submitted to CANADIAN CAMERA, c/o the editor-in-chief. If you wish material to be returned, include a suitably sized envelope with adequate return postage affixed.

CANADIAN CAMERA and the editor assume no responsibility for loss or damage to material, regardless of cause; however, every effort will be made to return material supplied with SASE. CANADIAN CAMERA reserves the unrestricted right to edit, crop and comment editorially on all submitted material.

SUBSCRIPTIONS: CANADIAN CAMERA is distributed automatically to CAPA members.

Individual copies are available for $7.95. Library subscriptions cost $25.00 for four issues.

For further information, contact CAPA National Headquarters, Box 357, Logan Lake BC V0K 1W0.

Tel.: 1-250-523-2378 E-mail: capa@capacanada.ca Canadian Mail Publication Agreement #1665081

Allen Bargen

Sheena Wilkie

Joanne Duma

2

4 6 Chris Klus 8

Sheena Wilkie

Mufty Mathewson

Alan Beaton

Lynne R. Kelman

Mark Lachovsky

Rosemarie Calver

11

13

14

16 18 21 24 26

28 Betty Andres 32 33 35 36

Message from the President In Focus CAPA 2010 Annual Digital Competition The Colours of Havana In This Church of Bones Member's Portfolio: Hanneliie Swanepoel HDR My Year of Full Moons The Silk Road - A Dream Fulfilled Civil War Re-enactment: The Battle of Port Gamble Shooting the Stars in NYC Club Focus: The London Camera Club Celebrates Its 75th Anniversary Competition Winners 26th Annual North Shore Club Challenge CAPA News Bridgestone Photo Contest Winners New Members

THE COVER

By Allen Bargen, Sally Lightfoot Crab - Galรกpagos Islands

Printed in Canada by

CAPA is a FIAP-affiliated organization.

www.capacanada.ca

CANADIAN CAMERA - 1

Message from the president

CAPA

Allen P. Bargen

Officers & National Council Members Founded in 1968, CAPA is a non-profit organization for photographers, including amateurs, professionals, camera clubs, and anyone interested in photography. The aims of CAPA are to promote good photography as an art form in Canada, and to provide useful information for photographers. CAPA ac­complishes this through interaction with individuals and member camera clubs and by distributing slide sets, evaluating photographs, running competitions, and publishing the quarterly Canadian Camera. CAPA also sponsors Canadian Camera Conference, an annual summer weekend of field trips and seminars held in a different city each year.

CAPA is a member of the Fédération Internationale de l’Art Photographique (FIAP).

It’s been a very busy spring in CAPA with several major photographic events happening across the country.

During my travels, I’ve seen many examples of truly ­stunning photography by our members embodying a truly ­innovative and creative spirit, demonstrating how our art is continuing to evolve. Daring photographers are ­becoming incredible artists as is evidenced by the work being shown in our clubs, and in galleries across Canada.

CAPA OFFICERS President . .............Allen Bargen Vice President .......Bill Lloyd Secretary ..............Mike Breakey Treasurer . .............Len Suchan Past President .......Jacques Mailloux

CAPA DIRECTORS Pacific Zone ..........Larry Breitkreutz Prairie Zone............Larry Easton Ontario Zone..........Bill De Meester Quebec Zone . .......Volunteer op.

Atlantic Zone .........Volunteer op.

Director of Competitions .........Judy Higham Director of Pictorial Imaging....Bob Ito Director of CCC.......Volunteer op.

For membership information and rates please see page 28.

CAPA Membership Services Paula Allen Box 357 Logan Lake BC. V0K – 1W0 1-250-523-2378 E-mail: membership@capacanada.ca Web site: www.capacanada.ca

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CAPA’s Judging Course continues sweeping across the nation with several in development now. Registrations for judging courses in Mississauga for September 25th and in Nanaimo BC for October 30th are now being accepted. Email me for information on courses in your area, or for additional information.

Planning is well underway for two major events, CAPA’s 2010 Annual General meeting, and a long awaited Canadian Camera conference to be held in 2011 in London, Ontario on the July 1st long weekend.

CAPA’s 2010 Annual General Meeting is scheduled to be held at the University of B.C. Okanagan campus in Kelowna BC on Sunday August 1, 2010. In addition, the summer board meeting will be held on Saturday July 31st. Accommodations have been arranged on campus at very good rates for those who wish to stay over during the weekend. We are also planning some informal activities for Monday of the long weekend for those who wish to spend some time in the Okanagan.

All details will be sent out over the next few weeks including accommodation. Watch the Important News box on our website for more information.

At the 2010 AGM, Divisional Directors and Zone Directors are elected for the next

two years. If you wish to be considered for these important positions, please advise the Chair of the Nomination committee, past-pres@capacanada.ca of your interest.

Similarly, if you would like to nominate a CAPA member in good standing, please send your nomination to the Chair as soon as possible.

I am extremely delighted to announce that planning is well underway for a Canadian Camera Conference in beautiful London, Ontario during the July 1st 2011 long weekend. The London Camera Club is our host for this exciting event, and plans are coming together for a great CCC. More details will be released on the website as plans are completed, but mark your calendars now to meet in London Ontario in July 2011.

Members, please note that due to the implementation of HST in Ontario and British Columbia, membership rates will be revised on May 1st in BC and on July 1st in Ontario to reflect the new tax. In BC after April 30th, it will be necessary to add the appropriate new HST to the basic membership fee.

We have a new ‘Chair of Web Images’ for CAPA who will be responsible for ensuring that images from individual members and Clubs are promptly installed on our website.

If you’ve been waiting for the chance to have your photos displayed on the CAPA site, please email to galleries@ capacanada.ca for further instructions as to sizing, etc. Clubs, why not make it a priority to have a gallery of your members work on our website to show our international visitors the outstanding work we are creating here. Galleries will be limited to 12 images per person initially, but may be increased once overall demand is determined.

If you have a club event that you’d like published on our Web Calendar, www. capacanada.ca/calendar.html you may now send your information to either past-pres@capacanada.ca or president@ capacanada.ca for insertion. Please ensure your information can be copied and pasted for fast addition to the site. g

Allen P. Bargen, FCAPA President president@capccanada.ca

Canadian Association for Photographic Art and Expedia CruiseShipCenters, Stoney Creek SOUTHERN CARIBBEAN, 14 Days JAN. 31 – FEB. 14, 2011 Itinerary

Fort Lauderdale, Florida - At Sea - At Sea Aruba, Netherlands Antilles - Curacao, Netherlands Antilles - At Sea – Grenada, Grenada - Barbados (island), Barbados Bequia island, Saint Vincent and the Grenadines - Basseterre, St Kitts, Saint Kitts and Nevis - St. Thomas, Virgin Islands – Santo Domingo, Dominican Republic – At Sea – Princess Cays, Bahamas - Fort Lauderdale, Florida SEE THE CAPA WEBSITE

Hosted onboard by Sharon & Bill 1-866-544-1644 sswindells@cruiseshipcenters. com

SUBMISSION OF ARTICLES, PORTFOLIOS AND NEWS ITEMS CAPA Members… We need submissions for upcoming issues. Canadian Camera is YOUR magazine! We welcome your articles, news items, portfolios and reviews. We do reserve the right to accept or reject material as we see fit. We will make every effort to achieve a balance of views, subject matter and geographical representation of our members. So please, submit an article about that last photo trip you took or that last nice lens you purchased. You never know, you might just get your name in print.

How to send material • Please write your article in Word format or plain text • You may mail your article and high ­resolution images on a CD/DVD • CD/DVD returns require a SASE suitable for return mail • You may send your article and low res photos by email to ­­editor-in-chief@ capacanada.ca • High resolution photos can also be ­submitted by FTP (instructions available upon request)

• Please don’t format the text of your article. No bold, underline, bullets, indenting, or special characters • Photos must be JPG format (No RAW, TIFF, PSD, etc.)

• Do not resize, final photos must be full resolution • If photos are scanned CMYK is ­preferable to RGB • Photos must have simple ­descriptive filenames and include the photographer's name, e.g. Susan_ Brown_barn_swallow.jpg

• We may not use all of the photos you submit, therefore: • Your article should not contain notes about where to place a photo • Your article should not contain wording specific to a photo • You may list your files and suggested captions after your article text • Please include your phone number, ­ e-mail address and CAPA membership number

When to send it • Summer Issue April 20 • Fall Issue July 20 • Winter Issue Oct. 23 • Spring Issue Jan. 19, 2011 These dates are for time-sensitive ­material only. Submitting an article and having it accepted does not mean it will come out in the next issue.

Where to send it Canadian Camera

c/o Sheena Wilkie, Editor-in-Chief 14220, 71st Ave., Surrey, BC V3W 2L1 E-mail: editor-in-chief@capacanada.ca CANADIAN CAMERA - 3

In Focus Sheena Wilkie, Editor-in-chief

What came first, the cook or the photographer?

I’m having a celebration cupcake! It’s been two years since I took on the duties of Editor-in-Chief of Canadian Camera magazine.

I remember how excited I was, and oh, so full of ideas. One of those ideas was to give each issue a theme. Two years have passed; I still cannot get a theme together. I laughed when I looked at the content for this issue: You people are un-theme-able. Your work is too diverse to fit under an umbrella. Our summer issue has everything from rock stars to skulls to muskets to an ancient road. How do you get a theme out of that? Well the theme I’ve chosen for the summer issue is “diversity”, because our members give new meaning to the word!

How fabulous is that, though?

Our membership shares a common passion for photography, but each of us has a separate philosophy, a differing aesthetic, a unique style of photographic expression.

One of the diverse photo genres that I find absolutely fascinating – because I

like cooking and certainly eating – is food photography. I’ve always wondered what came first, the cook or the photographer.

Are people attracted to food photography because they like to cook, or do they photograph food because they like to eat the props when the shoot is over?

With the advent of food blogs and online recipe exchanges, food photography has never been as popular as it is right now. There is significant interest in photographing food for artistic purposes rather than just commercial applications. And our whole attitude about dining and food has changed. It’s not enough that food taste good, it also has to look good. Like fashion and glamour, where the people and clothing are made to look

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their best, food has its own stylists and makeup artists for the same reasons.

Food photography is a science and an art.

I know that some of you out there are shooting food and I’d love for you to share your work with us.

So I am putting out the call for food photographs, photographs showing food preparation, styling, and so on. Include a tip or two. How do you set up your lighting? What are your tricks to make ingredients look appetizing? Consider this your summer assignment; shoot some food and submit the results to me for the fall issue! Remember, the deadline is July 20th. g

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!

PHOTOGRAPHY OF THE YEAR CONTEST

PHOTO: MARTIN COOPER

TO E DA NT Y ER to W IN

Canadian Wildlife

Canadian Geographic, in partnership with the Canadian Museum of Nature and the Alliance of Natural History Museums of Canada, presents the third annual Canadian Wildlife Photography of the Year Contest.

How to enter

You could win!

Sign up to the Canadian Geographic Photo Club and submit your photos to our five categories:

The top 15 photographs will be published in the December 2010 issue of Canadian Geographic.

• Mammals • Birds • Wildlife in the water • Insects/reptiles/amphibians • Junior photographer (age 15 and under): all wildlife Contest opens April 16 and closes August 30, 2010.

All 30 winning photographs will be on display in a travelling national exhibition produced by the Canadian Museum of Nature.

Plus cash and other great prizes!

Submit your best photos for a chance to win.

*A processing fee of $10 per participant applies. (Each participant can submit up to 10 photos.)

Enter online at: www.canadiangeographic.ca/wildlifephotography PARTNERS:

SPONSORS:

CAPA 2010 C A P A

2 0 1 0

A N N U A L

D I G I T A L

C O M P E T I T I O N

Annual Digital Competition

The 2010 Annual Digital Competition is underway.

Have you submitted your entries yet?

Are you set to take home some of these fabulous prizes?

Three of you certainly will. Take a look at what you could win. The cameras are a fantastic selection of new models ˆ three Sony Digital cameras, including two DSLR Kits.

In addition, ten (10) CAPA Honourable Mention Ribbons will be awarded.

First Prize:

• Sonya500L Digital SLR Kit w/DT 18-55 f3.5-5.6 SAM Zoom Lens • Lowepro Fastpack 250 Backpack Camera Bag • Manfrotto 496RC2 Compact Ball Head • Adobe Photoshop CS5 • Adobe Lightroom 2

Second Prize:

• Sonya330L Digital SLR Kit w/DT 18-55 f3.5-5.6 SAM Zoom Lens • L owepro Outback 100 Modular Beltpack Camera Bag • Photoflex PX229 30” White Ajustable Umbrella • Adobe PhotoShop CS5 • Adobe Lightroom 2 Third Prize: • Sony Cyber-shot DSCWX1B 10.2MP Digital Camera w/5x Optical Zoom • Lowepro Terraclime 50 Camera Pouch • 2 packs of Hahnemühle Bamboo 290 gsm 8-1/2 x 11” Paper • Adobe Photoshop CS5 • Adobe Lightroom 2 This competition is open to CAPA individual and family members only, who are permanent Canadian residents. So, if you belong to one of our many CAPA clubs, we encourage you to join as an individual or family member. By taking part in this competition you will have a chance to win one of three fabulous prize packages.

Legal Terms:

With proper credits to the photographer and a reference to the CAPA 2010 Annual Digital Competition Prize, winners give CAPA, Sony of Canada Ltd. and Adobe Systems Canada Inc. the right to publish their winning photograph in Canadian Camera and on the CAPA Website, and use them at any CAPA, Sony and Adobe exhibition, publication, promotional or educational event. Entry into this competition implies acceptance of the above practice, unless refused in writing by notifying the Chair of this competition. CAPA recommends that the photographer obtain a model release for presentation and publication purposes, prior to submitting an entry, and have these available if requested. In case of legal challenge, the photographer agrees to hold CAPA, Sony of Canada Ltd. and Adobe Systems Canada Inc. harmless, and assume all liability or injury that may arise from entry into this competition. Photographers retain all creative rights to their art.

How to Enter:

All entries must be submitted electronically no later than midnight (Pacific Standard Time: GMT-8:00) September 30th, 2010, through our Website at www.digitalcapacanada.ca. If you participated in a previous year, you need not register again; you can use the same login and password. For new participants, all you need to do is register using your CAPA Member Number (i.e. 28999) and a valid e-mail address. Please make note of the password the software will generate for you. All participants will be confirmed as members in good standing and living

in Canada against our database, before their entries are accepted and judged at the end of the competition. Your registration will also make it possible for you to change your mind and submit a different entry up to the very last moment!

E-mail and regular mail entries will NOT be accepted, and will NOT be returned. The Rules and Guidelines governing this competition are posted on the CAPA Website and can be downloaded and printed for your convenience.

E-mail enquiries should be sent to Jacques@ CAPACanada.ca. Following the Contact us… guidelines on the CAPA Website, make sure you include the title of the competition and the word CAPA in the Subject line, or your message may be tagged as spam and not reach its destination.

The topic is Well aged…, where your photograph shows the passage of time and its effect on the world that surrounds us, including architecture, transportation, nature, animals and people. Participation is limited to 2 Entries per member, both on topic. You can submit either colour or B&W images. Manipulation in Adobe Photoshop and other software is allowed.

Keep in mind though that we are looking for digital photographs and illustrations originating from photographs that have been produced with taste and imagination. Remember, CAPA is all about photographic art. And art should be created with care and love. Judging will be carried out in Ottawa in early October, and the results will be announced on the CAPA Website shortly thereafter.

Competition Chair: Jacques S. Mailloux

EVENT SPONSORS

We are deeply indebted to Roy Hooper of the Camera Club of Ottawa for hosting the CAPA Digital Website as well as providing and ­fine-tuning the software that makes it possible for contestants to submit their entries electronically.

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By Chris Klus

The Colours

of Havana

I had seen photographs of Havana and knew it was a photographer’s paradise with its centuries old Spanish colonial architecture, narrow cobbled alleys and mid-50’s American cars roaming almost every street. However, I was told it’s not for the faint of heart. It’s crowded, noisy, dirty, polluted and smelly and has a roughness about it that makes you feel uneasy. Despite my concerns, I came to Havana for a week-long photo shoot to capture the colours of the city.

Once there, I found a vibrant and exciting city with people that are friendly and love Canadians and, despite some begging and hustling of cigars, I found it to be really quite safe. And, the colours were spectacular.

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Habana Vieja—or Old Havana—is one of the most densely inhabited areas in Latin America. Some 70,000 habaneros, as the locals there are called, are crammed into an area just 4.5 square kilometres.

Most of the buildings are from the 17 and 18 hundreds and crumbling and run-down yet they still show their original Spanish colonial character and colours—though now more muted with a patina of centuries-old dirt. I spent many mornings wandering the narrow streets and alleys looking for interesting colour combinations or lighting effects.

The narrow doorways, old wooden doors and windows kept catching my eyes. I would try different compositions of the same doorway; sometimes just focusing on details to get an abstract effect. The morning light softened out the shadows and brought out the colours, but I would often underexpose by about 1/2 to 3/4 stop to get darker blacks and more saturated colours.

During the day, the streets were filled with the hustle and bustle of life; men sweeping their stoops, women hanging laundry, children going to school or

playing in the street and dogs roaming for food. After about 11 o’clock, the lighting conditions became difficult. The bright and harsh sunlight created heavy shadows in the streets. I was constantly putting on and taking off my polarizing filter to try to get the right shadow balance and some depth and detail in the sky and bracketing to find the right exposure for shadow detail. And after each shot, I would check the histogram to make sure I was at least in range, knowing that I could fine-tune the exposures in Photoshop back at the hotel. I fell in love with the laundry hanging from almost every balcony and kept looking for interesting patterns and ways to frame the images.

Shooting up into sky created some nice lens flare and brought out the contrast in

the white sheets. Because I was doing so much walking, I didn’t take a tripod and was really glad I had a vibration reduction lens that would let me hand-hold at 1/40s and still get crisp shots.

Old Havana at night is full of tourists and locals strolling the streets and alleys or sitting in bars listening to combos playing traditional Cuban music or jazz and drinking Mohitos—the Cuban national drink made with crushed mint leaves, lemon juice, sugar and, of course, lots of rum. In one bar, I asked the group that was playing if I could take photos and spent the evening trying to capture the excitement of Cuban music. The lighting was poor and mixed source— incandescent, fluorescent and stage lights—so I bumped up the ISO to 3200

to try to get enough speed, knowing that I would probably get a lot of grain. Later, when processing these images, I converted many to black and white and added even more grain to create a moody look.

Having reviewed my first couple of days of shots, I realized that a lot of them were fairly typical tourist or artsy shots and, though I liked them, I needed to capture more of the character of the city. So, on the third day of the shoot, I concentrated on street life. At first, I took long shots down the alleys with my long lens to compress the distance and create more depth. I really liked shots that silhouetted people sitting on their stoops. In a plaza I ran into some children playing tag and they immediately came over asking for money and making

CANADIAN CAMERA - 9

faces at me. I quickly stopped down in Aperture priority mode to get the shutter speed to 1/15s or 1/20s and panned the camera as they ran around the plaza. It made for some very interesting images.

I also focused on street scenes to try to capture the character of the people and the city. And, of course, those iconic old American cars; most pretty beat up but some in almost pristine condition.

Back at the hotel when I was processing these images I would add a bit of the Photoshop diffuse glow filter to bring out the sheen in the chrome fenders or sometimes the poster edges filter with some very nice effects.

Sunset and dusk is my favourite time to shoot and I would walk from my hotel to the Malecon—a six-lane thoroughfare

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that runs along the coast for 8 kilometers and offers great views of the Havana skyline. Shooting was difficult because of the heavy smog in the air that acted like a mist and flattened the light. At the same time, it glowed red with the setting sun and added orange and magenta colours to everything. I would take lots of shots here watching the changing hues and waiting for that right moment when the colours shone or windows would catch a bit of flare. In processing, I would have to add a lot of contrast to bring out the depth of the scene. One day it was very windy which cleared out much of the smog and brought in huge waves that broke over the seawalls into the air and onto the street. Some very dramatic images came for that shoot and, with

one wave, also a wet camera and camera bag.

Sitting on the seawall I remembered something that Freeman Patterson once said: “Always look behind you”. As I turned, I saw the iconic old American cars whizzing. As I had my polarizer on, I set the shutter to 1/15s and panned with the cars as they drove by. It took me about ten shots to get the right focus and speed to capture the cars clearly while blurring the background.

The week went by quickly, and I think my images managed to capture the colours and contrast of this wonderful city. It truly is a photographer’s paradise and I will certainly be back again, but this time taking more time to just relish in the excitement and vibrancy of Havana. g

In This Church of Bones

By Joanne Duma

A

s far as 15th century churches go, this one is a real sleeper. It is known as the All Saints Catholic Church in the outskirts of Kutna Hora, Czech Republic. Starting out from Prague, I travel southeast by bus for 70 kilometers to arrive at its door. At first glance, I see a mundane stone and brick building sitting on a small cemetery.

A slow moving line of tourists are filing in; but there is more.

Crossbones in an otherwise unassuming steeple and a tombstone sporting the steering wheel of a race car catch my eye. I am intrigued and join the others in what feels like a funeral procession into the lower chapel, the Sedlec Ossuary. It is nothing short of surreal. Decked out with an elegant arrangement of human bones from 40,000 skeletons, this is definitely the main offering.

The medieval church was built on a pre-existing burial ground. The cemetery had gained popularity throughout Europe as a desired resting place after a Cistercian abbot scattered soil from the hill of Calvary over the ground, igniting the belief that it was now Holy Land. The Black Plague further fed the burial ground to an excess of 30,000 corpses in its 35,000 square meters. Construction of the church in the 14th century caused the cemetery to be scaled back and the skeletal remains were initially piled alongside the church.

A 16th century half-blind monk later stored the bones in the lower chapel, and over 200 years later, a local woodcarver was hired to arrange them in an orderly fashion.

The final creation is a visual feast of bleached and sterile bones. Yet there is nothing sterile about this place. Garlands of skulls hang from a vaulted ceiling while other skeletal remains adorn the chapel in a display of chalices, bells and pyramids.

In the center hangs a monstrous chandelier flaunting every bone in the human body. A nearby crucifix bears witness to

the dĂŠcor noir. The dead are living large here and I want to capture the image.

But here is my challenge. The morbidity takes me aback.

I struggle to suspend my judgment of the dĂŠcor as gruesome along with any other associations that would overshadow my visual awareness. My aim is to experience, as directly as possible, the visual elements of form, texture and light, and how they come together. So I await the image, attentive to the moment the visual impact resonates with the emotional one within me. For in finding the essence of an image, I find also its beauty and power.

In this church of bones, my eyes fall upon a descending string of skulls. On one side, a bare window cut into stone.

The midday light enters through it and something in me stirs. Giving in to childlike curiosity, I draw closer and feel the skulls staring at me from curved lines around shaded spaces. They will not be forgotten like those buried and out of sight. I stare back and am immediately reminded of my own mortality. No matter where I go, death will eventually find me. The midday light somehow softens the fear.

Still, I cannot break free from the grip of their stares.

The hollowness found in them reflects the space felt in me, the inviting space left by the recurring loss of any fixed image I might have of myself or the way I see the world.

Looking away briefly I try to loosen the hold. It works, and my focus turns to the light and how the skulls catch it at an angle. The oblique lighting accentuates their form, reminding me of how loss, in the ways I choose to meet it, helps shape the contours of my life and gives way to newness.

I raise my camera, as if to toast the beauty of a simple garland of skull and bone by the light of the midday sun. It is life in the midst of death and death in the midst of life. Herein hangs the image. g CANADIAN CAMERA - 11

MEMBER’S PORTFOLIO

Hannelie Swanepoel

Hannelie started photography

1994. She obtained Associateships (APPSA) from the Photographic Society of South Africa (PSSA) in colour prints and slides as well as a Fellowship (FPSSA) in slides.

Hannelie lectures at seminars, workshops and congresses and participate actively in competitions. She won vari12 - CANADIAN CAMERA

ous medals and awards, nationally as well as internationally. She served on the Board of Directors of PSSA for several years and was also the Public Relations Officer of PSSA for three years and is currently the Liaison between PSSA and CAPA and obtained the certificate of achievement for completing the CAPA National Judging Course.

Hannelie advises that her most favorite cameras are her newly acquired Nikon D700 and D300. She favors the following Nikon lenses: 18-200 VR, 70-200 2.8 VR, 10mm, 105 Macro, the SB 800 flash and a B&W Circular Polarizer. For post-processing Photoshop CS4 and Lightroom 2 are used.

MEMBER’S PORTFOLIO

Hannelie Swanepoel

The Nikon D300 was used to take all of the featured pictures with the following lenses: Group 1: Group 2: Group 3: Group 4: Group 5:

Nikon 10mm at F11 with a polarizer, on a tripod Sigma 300-800mm at F5.6, on a mounted vehicle window Wimberley Nikon 70-200mm VR at F2.8 with a polarizer, handheld Nikon 105mm Macro at F8 with a SB 800 flash, on a tripod Nikon 18-200 VR at F5.6 for the twirl & burst, handheld and F32 for the star burst, on a tripod

Hannelie and her husband commute between Jasper, Alberta in Canada (where he works as a medical doctor and she as a photographer) and Polokwane, Limpopo in South Africa. g

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HDR

Last issue, I asked for people to send me their examples of HDR work.

And voila, here they are. As you can see the subject matter, the style, everything about HDR is unique to the person creating it although they share some similarities. Below is a simple tutorial tutorial on getting started with HDR. The skill and art is not in running 足photos through the software but in how you spin the dials!

Taking the photos 1. Put your camera on a tripod to take several shots, without moving the camera, at different shutter speeds.

2. Take the shots 2 stops apart, and take 3 frames for outdoors shots, or 5 frames for indoors with bright windows.

3. Copy the images to your computer.

Using Photomatix It's become the favourite among photographers doing HDR work.

1. Select all 3 or 5 of your photos and drag them into the Photomatix window.

Francois Cleroux

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2. You will be presented with some options for merging the images. The defaults are fine in most cases.

3. After a few minutes, an HDR will be generated. Because the monitor can only show a fraction of the full range, it will be ugly.

4. Click "tone mapping", and then choose the "Details enhancer" tab. ("Tone Compressor" is the easy alternative with fewer options) 5. You now have a plethora of sliders to adjust. The help file explains them all, but experimentation is the best teacher here.

6. When finished, save a .tif file.

Edwin Wiebe, Arbutus Tree

p Peter Hourie, Shambles 2 t Rick Shapka, Vancouver Waking

Using Photoshop You may already have it, and it can also generate and tonemap an HDR, but not with the same flexibility as Photomatix.

1. Generate your HDR file using File>Automate>Merge to HDR. 2. After some processing time, you must choose a bit depth (choose 32 bits) and adjust the white point (make sure nothing is blown out) 3. Tonemapping is done by selecting Image>Mode>8 bit 4. The HDR Conversion dialog box offers several methods of adjusting the range and contrast of the final image.

5. "Local Adaptation" offers the most control and tends to produce the most interesting results. Once it's to your liking, click OK and save your results. g

By Sheena Wilkie

Janusz Leszczynski, Locomotion Royal Hudson

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1. Lisa Richardson, Legere Justice Building 2. Andre Gallant 3. Linda Hourie, 100 Mile House 4. Adam Weston, Canon Beach 5. John MacDermid, Fredericton Skyline 6. Scott Prokop, Eye in the Sky 7. Allen Bargen, Palouse Steptoe Butte 8. Ron Kelman, Web Surfers station wagon CANADIAN CAMERA - 15

My Year of Full Moons

By Mufty Mathewson

In August, I am in Newfoundland, a visit that coincides with the full moon. I want to capture the big full moon rising east of the most eastern spot in Canada. I have my husband, Bill, light-paint rocks in the foreground to create texture interest while I hold the lens open. I think to myself, I love this gorgeous full moon. It resonates in my soul. I feel fulfilled in its ­presence. I wonder if I can capture a full year of full moons. I decide to try.

In September in Edmonton, the full moon coincides with Labour Day, a night when Edmonton turns on waterfalls on our High Level Bridge. I position myself a little west of the bridge and capture the full moon behind the water of the falls.

There are two full moons in October this year. For the first, I drive out to Elk

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Island National Park where I visualize the moon reflected in Astotin Lake. I get up an hour before dawn. It is a spectacularly quiet morning and as dawn creeps forward, the moon settles on the horizon.

Bird life comes awake. Ducks mutter as they feed in the marsh beside my tripod.

The second October moon, the blue

moon, coincides with Halloween. I put our pumpkin out on the deck and light up its orange innards with candles. I catch the full moon over the trees behind our house.

In November there is a cold spell that drives the thermometer to 25 below zero.

I don’t want to go out at night so set my

alarm early, climb into long johns, snow pants, boots, hat, scarf and double mitts.

I drive out past St. Albert to get the moon set over the fields north of the city with a house in the foreground.

December, I go down to Hawrelak Park and photograph the full moon near three tall candles in a spectacular Christmas Light display, just right for the season.

In January I go alone to the Carmel Valley in California. I watch as the full moon date comes around but the weather

in my image. The moon disappears into the clouds over the ocean. I straighten up and find I am alone again.

In February, I am in Calgary. I go downtown for full moon night. I shoot upwards to capture the white shiny moon behind the bright lights of the Calgary Tower.

In March, I have no idea what to do so go out driving in the east end of Edmonton watching where the moonrise relates to the foreground. I discover a paper recycle place where stacks of pressed

where the moon will crest the horizon to get the needed foreground. Similarly in winter, the sun rises north of due east; the moon rises where the sun rises at in summer. In June, we are visiting Yellowstone National Park. I wait outside my motel and watch for the moon to rise over the Yellowstone River. It does, and I capture it with a slow shutter speed making the light clouds create a misty appearance.

In July, the last month, I head to the fairgrounds for Klondike days. The lights

is overcast, cloudy and rainy. For days there is no full moon to see. There are usually three nights when photography of the full moons will work so, on the morning of that third day, when the thick clouds obliterate the moon, I decide to drive to the beach looking west over the ocean in case the moon should appear below the clouds. I set up in the dark on a mild morning and as dawn lightens the beach, I see another photographer just yards away, also focused on where the full moon will set. We talk briefly.

He is from National Geographic. Wow, I think, he must know what he’s doing!

Then the grey clouds clear. The full moon will set into a sea with the sky turning a rosy pink from the rising sun behind us.

I shoot furiously, horizontal and vertical images, moving the horizon up and down

recycled paper rest under the sky.

I notice the bright lights of the band stand at 116th Street in April and make a great shot looking south across the North Saskatchewan river. I also get a shot of the full moon behind the University of Alberta residences.

In May, I wait at the top of Bellamy Hill for the moon to rise over the river.

Sure enough, watching a little north of due east the orange rim of the moon appears creeping up over the city’s river valley with it green road signs.

Azimuth. The moon rises in the sky exactly opposite to the location of the sun rise. Most of us know that the sun rises very much north of east in the summer.

In June the moon rises very much south of east. Being aware of the location of the moonrise helps the photographer know

of the midway steal attention from that beautiful full moon in the distance. Later I shoot it through fireworks.

I don’t want this project to be over.

I go out to West Edmonton Mall and capture the moon above a big neon street sign blinking WEST EDMONTON MALL. The next evening I drive out to a little lake west of town and capture the moonrise in a blue evening reflected in the water. The next evening I go to Commonwealth Stadium and find the full moon dancing between the cement parapets that rise into the sky. I find another shot over the flame that burns to the west of the Convention Center on Jasper Avenue.

The moon wanes. It is no longer full.

It is now a Gibbous Moon. My project is over. I am bereft. g CANADIAN CAMERA - 17

The Silk Road – A Dream Fulfilled

By Alan Beaton

As a youngster in Scotland many years ago, I dreamed of experiencing travel along the Silk Road, from China to Venice, Italy.

My photographic travels in recent years have taken me from Vancouver to Venice and more recently to Turkey, Syria and Jordan. I’ve also visited Xian in China. However, that part of the Silk Road commencing in Central Asia and extending to the Turkish border remained only a dream until recently.

Months of researching maps, travel guides and descriptive literature helped prepare my wife, Caroline, and I for a trip in April 2010 through China and Uzbekistan. Due to perceived travel difficulties at in Iran and Iraq at the time, we decided to forgo visits there.

Initially, our journey took us through China, from Dunhuang to Kashgar. We then travelled to Uzbekistan in Central Asia, starting inTashkent, going west to Khiva and back through Bukhara and 18 - CANADIAN CAMERA

Samarkand before returning to Tashkent.

Dunhuang is the Gateway of the ancient Silk Road to the West. Our first day in Dunhuang included visits to the Yumenguan or Jade Gate, the Han Great Wall and the Yang Guan.

The Yumenguan, an important pass on the Silk Road, was named after the fine quality jade shipped through this pass.

That evening we enjoyed wine and the beautiful sunset over the adjoining sand dunes from the hotel’s rooftop patio.

The following day, we visited the Echoing Sand Mountain, Crescent Lake and the White Horse Pagoda. Trekking to these locations in the sand was not easy to start with; trekking under the hot sun was difficult. Our final stop for the day was the White Horse Pagoda, a Ming Dynasty pagoda.

The Mogao Caves were our last major point of interest in Dunhuang. The caves contain many murals painted centuries ago by Buddhists to aid meditation and enlightenment. We had to leave our cameras behind with our guide, as no photography is permitted inside the caves. The murals on the walls within the caves were very well preserved and depicted centuries-old daily life and activities. Later that day we were driven across the desert to board the overnight train to Turpan.

In Turpan, the itinerary for the day

included the ancient city of Gaochang, Astana-Karakhoja Tombs, the Emin Minaret (Sugong Pagoda), the Flaming Mountain and the Bizalik Thousand Buddha Caves and Jiaoche. The population of this part of Central Asia is primarily Uygur, a Turkic ethnic group.

Gaochang and Jiaoche are considered to be the best preserved ancient cities in China. In the 14th century, Gaochang was burned down, and abandoned, fell into disrepair. We hired a donkey cart driven by a young Uygur man to take us into the inner city to view the remaining structures. After Gaochang, we visited the Astana-Karakhoja tombs and the three burial chambers where murals of people, animals and flowers decorated the walls. The Bizaklik Thousand Buddha Caves, located on the cliffs at the Flaming Mountain, contained beautiful murals. Our visit to the ancient city of

Jiaohe, a natural fort situated at the top of a cliff on a plateau between two rivers, was inspirational. We left for Urumqi the following morning.

Urumqi, which means “beautiful pasture”, is a regional transport/ commercial centre and the largest city in China’s western interior. We made a trip to Tianchi or Heavenly Lake, 1,900 meters above sea level and surrounded by spruces and snow capped mountains.

On the descent, we visited a Kazak family who had just set up their yurts on the hillside. The next morning we flew across the Taklimakan desert to Kashgar. The Taklimakan Desert is known as the “You go in, you won’t come out” desert (We only became aware of this after completing our flight!).

Kashgar is the westernmost town in China and is an important trading hub on the Silk Road connecting China to

the west. In Kashgar, the presence of the Uygur nationality is very prominent.

Our first stop in Kashgar was the Idkah Mosque, the biggest mosque in China.

Our next destination was the Apak Hoja Mausoleum also known as the Fragrant Concubine’s Tomb, considered to be the holiest site in Xinjiang. The rest of that day was spent strolling through the old town where traditional customs were still being followed.

Kashgar is renowned for its Sunday Bazaar. When we arrived the area was already buzzing with activity; cattle, horses and sheep were being unloaded from carts. We saw a Uygur man on the ground shearing wool from a sheep.

These bazaars have everything that you can think of: local produce, arts and crafts, garments, shoes, hats, boots, fabrics, knives, timber, coal etc. and were busy with local people bartering.

CANADIAN CAMERA - 19

The Uygur people in Kashgar were very friendly and hospitable. A friendly smile was quickly returned in kind and after acceptance and relaxation provided me an opportunity to capture some casual portraits.

We left Kashgar the following morning for a flight to Urumqi and a midnight flight to Tashkent in Uzbekistan.

Tashkent is the capital of Uzbekistan and Central Asia’s premier metropolis, the architecture of the many mosques and madrassahs in the city was outstanding as was the artistic mosaic work on both exterior and interior of the buildings. After visiting several mosques, we went to the Chorsu Bazaar. This Bazaar is located at a crossroad of four 20 - CANADIAN CAMERA

ancient caravan roads and merchants have come here to trade their wares throughout the ages.

We had a morning flight to Urgench and drove to Khiva, our next destination.

We checked into the Asia Khiva Hotel, just outside the south gate of the old city — “Ichan-Kala” enabling us to walk into the old city several times day and night on our own. With a history more than 2,500 years old, Khiva is considered to be the most intact and remote of Central Asia’s Silk Road cities and has been appropriately described as “a city frozen in time”.

Khiva is filled with madrassahs, mosques and minarets and is famous for its wood carving. A visit would not be

complete without visiting the best wood carver in Khiva. I purchased a carved wood cane both as a souvenir of our visit and as a possible aid in my extensive walks around the old city.

We left Khiva by car early the next morning and after a long drive through the desert reached Bukhara in the early afternoon. Bukhara is a centre of trade, religion and culture and an important crossroads on the Silk Road with connections to Iran and India.

We walked through Bukhara and were impressed with the beauty of the mosques, minarets and madrassahs.

We also visited the city’s citadel – the Ark – which in earlier days housed the Emir’s palace, harem, treasury, arsenals and prisons. Chor-Minor with its four minarets was a short distance away and provided some good photo opportunities.

We departed early the next morning for the drive through to Samarkand, the “Precious Pearl of the Islam World” where we had two full days of sightseeing.

We completed our trip to the Silk Road by driving back to Tashkent for a flight to Beijing where we spent two days revisiting Tiananmen Square and the palaces and ceremonial halls of the Forbidden City before flying home.

The Silk Road proved to be a journey of a lifetime and was a dream fulfilled.

Many of the images from this wonderful trip can be viewed on my website at www.alanbeaton.com. g

Civil War Re-enactment:

The Battle of Port Gamble

By Lynne R. Kelman

Last year I attended my first Civil War re-enactment and I have to say that for a ­photographer, the opportunities for great images are endless. My interest was piqued by an ad that I saw in 2008 whilst visiting Port Gamble, WA. A re-enactment of the Battle of Port Gamble was being put on by Washington Civil War Association the following spring, and I decided I was going to be there to photograph it.

I live here in BC so my trip included a couple of hours’ drive and a ferry ride to the beautifully preserved town of Port Gamble in Washington State.

The weather was great for photography, warm but slightly overcast, so I really looked forward to the day.

I a r r i v e d e a r l y. T h e a c t u a l re-enactment didn’t start until 11a.m. but the camps opened to the public at 9 a.m. My first surprise came when I arrived at 8:30 in the parking lot and was stopped and asked by a serious young man, which side I was fighting for and was given directions to where I could get kitted out! Okay—he was kidding—phew!

The actual event is held on the large display grounds in Port Gamble and the terrain is hilly with gentle green slopes.

I found the “camps” of the Union and Confederate armies on different sides

of the grounds, with tents erected amongst the sloping greens. I was at once taken by how genuinely authentic

these hobbyists are at recreating the scenes from the Civil War. The tents are furnished with exact replicas of cots, bedding, and sideboards and with uniforms and boots waiting to be donned. The camps were alive with re-enactors, practising among themselves, preparing for the upcoming drills and presentation of arms and battle. Not a thing was overlooked; campfires were authentic, wood was cut, billycans were boiling water for coffee. The atmosphere was electric and the period was so accurately reproduced that I felt that I had gone back in time.

My shutter finger was continuously clicking and I was so glad that I had on my general purpose Nikon 55-100mm zoom. It was ideal for most scenes as well as zooming in a little for close-ups.

There was the camp of the laundress, a woman who was paid in those times CANADIAN CAMERA - 21

Civil War Re-enactment: The Battle of Port Gamble

a relatively high wage to wash clothes for about fifteen men.

I saw the camp of the medical and sanitation core, where in wartime, nurses worked in poor conditions cleaning wounds, performing minor surgeries, and administering treatments.

They were exhausted by hard labour and overwork.

I met and spoke with a woman and children dressed in the outfits of the time and she explained how her youngest boy, dressed in a nightgownlike smock, would not have worn trousers and a shirt until reaching a certain age, well out of diapers.

There was the company store and camps of suttlers; merchants from 22 - CANADIAN CAMERA

whom soldiers would have purchased everything from tobacco, sugar and coffee to hard goods and furnishings.

They often followed the armies and played a part in the life of the camps.

The public was encouraged to wander freely amongst the camps, where children played with hoops and the women were weaving on antique looms. They welcomed me as a photographer and were excited to see the images I was creating.

The time passed quickly and I was lucky to take many images but as the time for battle neared, the men in the camps became more serious and proceeded to their stations. I hustled to get images of both sides as each

battalion performed morning parade.

Each outfit took roll call, inspected arms, and carried various procedures before pausing for a short prayer and then fell out to take up their places for battle.

Artillery was wheeled into place on either side of the hills on the field at Port Gamble, the Gatlin Gun was taken to the head of the battle and everything started. The battle is “fought� following the manuals and procedures that the original battalions used. The strategy and outcome of the battles are determined by the generals commanding the troops just as they did during the actual war, one and a half centuries ago.

At this point, I quote from the field notes of the Washington Civil War Association – “Like other Civil War organizations in this part of the country, the WCWA has three components; Confederate, Civilian and Federal. They boast three artillery units: Cobb’s, Polk’s Tennessee and Stanford’s Mississippi Batteries.

They have two mounted cavalry units in the 14th and 43rd Virginia. Since the Federal Component doesn’t currently have a mounted unit; the 1st US Cavalry is galvanized to keep things balanced. The Cornfed contingent is rounded out with the 1st Confederate Engineers, The Naval Detachment

from the USS Tahoma supplies artillery service for the Union. This detachment also has marines who turn out as skirmishers or infantry as the needs of the brigade dictate. The Yankee’s also have the US Medical Department, Army of the Columbia Fife & Drum Corps and for those not yet old enough to take the field with a rifle, the Norwich Cadets. The cadets are generally attached to headquarters and serve as Couriers. They also drill with the infantry, so when they “come of age,” they’re already well trained soldiers.”

As a photographer, I delighted at the smoke from the cannons, which in the wind drifted across the field. I delighted

at the “falls” the soldiers would take when “hit” and at the medics on the sidelines who would rush into the midst of the battle to pull them out. I have images of the spotters with their telescopes, acting as the forward guides to direct each battalion. There were fallbacks, regrouping, charges, and at one point a young man ran madly across the battlefield supposedly crazed by the destruction and death of his fellow soldier. My eyes followed the young drummer boy as he marched behind the ranks, only to be shot and as I watched him fall my heart fell also. I was nearly convinced this was the real thing!

I present to you my images of the battle, as I cannot in this article begin to describe each procedure, having neither the expertise nor the space. I must say that one of the most moving moments came at the end of the Battle, as flags were lowered, reveille was called and women lay wreaths at a makeshift cross and grave to salute the fallen.

Wow—what a morning. The Battle is usually re-enacted two or three times during the weekend that these events are put on and the camps carry on all day with re-enactment of the daily life of the soldiers. I encourage you to look up on the net where your local re-enactors will be presenting next. You never know, you might get hooked. I would like to say a big thank you to the WCWA for giving others and myself the opportunity to learn about and enjoy these events.

The WCWA is committed to honouring their ancestors both Northern and Southern, who fought and lived during the American Civil War and their dedication and sharing of knowledge is exemplary. I know that as hobbyists they work hard at keeping the battalions alive and they share that knowledge with school groups and clubs in the area. The magnitude of their devotion to realism, authenticity and all their hard work is to be applauded. g Lynne Kelman is a member of Crescent Beach Photography Club and is an ­enthusiastic, passionate photographer in her own right.

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Shooting the Stars in NYC

Photos and Text

By Mark Lachovsky

The Hollies with Steve Van Zant

When shooting the stars in NYC, one doesn’t look up at the sky; all you need to do is look to your left and to your right as they come out all around you day and night in NYC. By stars, I mean the huge variety of entertainers, ranging from musicians, singers, dancers, actors and imitators of all sorts for which NYC is a magnet.

It is one of the best places to spot and photograph them. The Waldorf Astoria Hotel is a landmark institution that has hosted a fantastic array of musical and artistic events.

The Rock and Roll Hall of Fame (RRHOF) has hosted most of its annual induction ceremonies at the Waldorf Astoria over the years. This is an evening when the stars come out to shine and pay tribute to some of the masters in the field. It is a magical night when peers toast their mentors and deserving musical artists get the recognition they rightfully deserve.

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On March 15, 2010 The RRHOF hosted its 25th anniversary induction at the Waldorf Astoria. This was a glamorous event with well-known and respected musicians of all ages and backgrounds gathered with many of the elite from the entertainment industry.

The event was held in a luxurious ballroom with extraordinary security, not only at the access points to the ballroom, but throughout the hotel.

Meanwhile on the main floor, was the press room; a room filled with print, photographic and video journalists, all jockeying for their spot for a star studded revolving door of action.

The print media were seated in the first two rows, followed by three rows of photographers, followed by the videographers on an upper platform behind the back row. This photographer carefully scoped out the room in order to gain an access point

that would allow for eyes forward head-on shots. In my experience what tends to make a greater connection in people images, and therefore a more striking photograph, is the angle, the lighting and the eyes.

I opted for a center seat, in the last row of photographers and in front of the videographers so I could stand and not be in anyone else’s way. Most of the journalists were very polite to one another, that is until the artists would enter the room. Then it was mayhem with everyone striving to get the best shot or their insightful question answered.

Inductees and performers came into the press room for photos and interviews while the award presentations were taking place in the ballroom upstairs.

The first real star power of the evening was Carole King who entered the room with a burst of brilliant

ABBA

Jimmy and Wyclef

Barry and Robin Gibb

Carole King

Faith Hill

Chris Isaak

presence. Though reported to suffer from stage freight, she looked stunning for her 68 years and very comfortable in this madness of clicks, flashes and intrusive questions. Carole had a brilliant smile and was gracious in answering questions.

Clearly the most entertaining star of the evening was Iggy Popp, someone known for his in-your-face hard-core punk style rock and roll. Iggy was an enigma as he strolled up to the podium and observed that, “there is a lot of money in this room” before giving everyone a double handed single finger salute. At age 63, some things are better left to the imagination, but in Iggy style, his shirt came off and it seemed to really get the audience revved up. He hasn’t lost his cutting edge yet.

From a photographer’s perspective, the evening was a real challenge. The artists would enter the room and there

would be a few frenzied minutes of shooting and yelling the name of the artist to grab their attention. It was a short window to try to capture that magical moment, the twinkle in the eye, the right angle, a natural smile with not too much teeth but just enough, the perfect gesture.

Dozens of cameras clicking away at the same time resulted in some washed-out images when too many flashes fired at the same instant.

Some photographers approached the challenge with maximum frames per second and consecutive shots.

I find that the key to capturing the right image remains to plan. If you plan well, you capture the right moment and have less of an arduous job afterwards rummaging through hundreds of images with the slightest variation between them.

I used two cameras with different setups.

The D300 was set to ISO 250, shutter speed of 1/250s with a 28-70mm lens and flash. Most images were taken at 70mm.

The D200 was set to ISO ranging from 1200 to 1600, shutter speed of 1/200s, with an 80-400mm lens, and no flash. All images were taken at 80mm. The idea of shooting with no flash was to allow for better color saturation and coverage of the question and answer session with less distraction for the artist.

In the end, once hundreds of images, notes and many minutes of video were shot, all the journalists had to write, edit, clean up and find a means to best capture a night of starlight. The stars were out on this most memorable night, and the photographs, articles and videos, in the end, could not help but portray the brightness of this starlit celebration. g

CANADIAN CAMERA - 25

Club Focus

The London Camera Club Celebrates Its 75th Anniversary

Left to Right – President Bill Lloyd ( also CAPA Vice President), Mary Chambers, club - CAPA Representative and Bill Demeester, CAPA Ontario Zone Director presents CAPA Gold Medal Certificate to The London Camera Club for first place in Prints.

The London Camera Club recently celebrated its 75th anniversary.

This is a unique milestone that only a few other camera clubs in Canada share.

At a club meeting this past January President Bill Lloyd gave an outline of club achievements over the seventy-five years. Our members were very impressed with the activities and photographic success of The London Camera Club.

President Bill Lloyd paid tribute to the past leaders of the club such as Irwin Schenkel who was the architect of the club constitution. He also paid tribute to several other Past- Presidents including Albert Mok, ACAPA; Rosemarie Culver, ESFIAP, ACAPA; Sidney Siu and Roy Kennedy — all of whom are still members and whose wise guidance has kept it strong, vibrant and successful.

Then we had the usual kind of anniversary celebrations so many of you are familiar with. We let them eat cake!

As a memento of our 75th anniversary each member was presented with a special 75th anniversary pin featuring the club’s new, modern logo.

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Over the past 75 years The London Camera Club has had many milestones for which we are proud. In 1934, the club was founded by six or eight enthusiastic photographers. This year we can report a membership 153 members.

And they really are enthusiastic! Over one hundred members regularly attend our four meetings each month.

The newly formed London Camera Club got right down to promoting photography in an active way. In 1936, the Club hosted its first International Salon of Photography and continued until 1952. This International Salon became “one of the outstanding International Salons in comparison with the best International Salons in U.S.A.” (London Free Press, August 24, 1945.)

The London Camera Club has always been actively associated with other photographic organizations in Canada.

In 1956, the club was a founding

Bob Steer Photo

Bob Steer Photo

1934-2009

President Bill Lloyd and Past President Roy Kennedy cut the anniversary cake celebrating the London Camera Club’s 75th Birthday.

member of the Western Ontario Federation of Camera Clubs (WOFCC).

The club hosted several Salons and several seminars for this local organization.

The London Camera Club is most proud of its long association and membership in the Canadian Association for Photographic Art (CAPA). The Club joined CAPA (then NAPA) around 1983 and has been an active participant promoting photographic art through CAPA. For instance, the Club has hosted many CAPA competitions over the years. In 1990, The London Camera Club hosted Camera Canada College. In conjunction with CCC90, the club held CAPA’s National Print Exhibition with it being held in London’s Art Gallery.

When digital photography was new The London Camera Club became an active promoter and leader in this new photographic technology. This accounts for much of the Club’s success in recent years. To obtain the very best digital equipment for viewing photographs the Club secured a grant of $10,000.00 from The Ontario Trillium Foundation.

Jim Bristow Photo

Jim Bristow Photo

Jim Bristow Photo

Adirondacks Autumn Weekend Photo Trip

Members on a Field trip to the Niagara Area Waterfalls -100th Fieldtrip.

Members on a Weekend Trip to the French River.

It was not an easy transition. Much time and sweat went into research to find the best equipment the club could afford, and then, more time and stress to learn all the nuances of calibration for the equipment. But we made it!

Let’s look at The London Camera Club today. Yes, we are deeply involved in learning all we can about today’s photography and we have fun doing it.

Field Trips have always been a major way our members advance in their photography and we really do have a lot of fun on each and every trip. We have been so fortunate to have Jim Bristow as our Field Trip Director. For ten years Jim organized and led field trips. In April 2004, we celebrated with Jim and Linda 100 Field Trips. It was actually 200 trips for Jim and Linda because they always scouted each trip. The Club awarded Jim CAPA’s Bronze Medal for this wonderful service. But wait, Jim and Linda then

started Wednesday Walks which give members opportunities for healthy living and photography every week. This too is successful with 10-20 members attending every Wednesday. Jim Bristow loves the fieldtrips so much that he has returned to this service after a couple years vacation.

Workshops are now vital ways the Club provides learning opportunities for members. Besides the four monthly meetings, the Club has six day-long workshops with all the organization being done by the newly formed Workshop Committee currently led by Hugh Fitzmorris. All the presentations are given by our own members. There is such a great attitude in this club. Everyone wants so much to share their expertise. A highly successful mentoring program was begun this year by the Workshop Committee.

Annual Weekend Photo Trips have been held for the last six years. Ably led

by Rosemarie Culver the Club members

have travelled to the Bruce Peninsula, Algonquin Park, and the French River in Canada, and the Adirondacks in New York, Michigan’s Upper Peninsula and this year the Club members will journey to Letchworth State Park in New York for its sixth Annual Weekend of Photography.

What does the future hold? With the great leadership of President Bill Lloyd and the enthusiasm of the members a bright future lies ahead.

Watch for the London Camera Club! Check our website at www. londoncameraclub.on.ca You will be hearing from us again and very soon. The London Camera Club will be hosting Camera Canada College during the summer of 2011. g Rosemarie Culver, ESFIAP, ACAPA Vice President The London Camera Club www.londoncameraclub.on.ca CANADIAN CAMERA - 27

Competition Winners

e.

a.

b.

c.

d.

Digital "Altered Reality" Club Competition

f.

Images

20 January 2010 Host: Crescent Beach Photo Club, Surrey BC

a. Certificate of Merit 1st

Greg Shurman, Delta Photo Club

"Mission Impossible"

Gold Certificate - Toronto Camera Club, Toronto ON Silver Certificate - Victoria Camera Club, Victoria BC Bronze Certificate - Photographic Guild of Nova Scotia (PGNS)

b. Certificate of Merit 2nd

Sean Sherstone, Harbour City Photo Club

"Endless Wait"

Certificates of Merit

c. Certificate of Merit 3rd

Janice Strong, Kimberley Camera Club

"Capture the Light"

1st Greg Shurman, Delta Photo Club, Delta BC

"Mission Impossible" 2nd Sean Sherstone, Harbour City Photo Club, Nanaimo BC

"Endless Wait" 3rd Janice Strong, Kimberley Camera Club, Kimberley BC

"Capture the Light" Bruce Gunion, Chair Digital Open, Theme, Altered Reality gunion @sympatico.ca

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d.

Gareth Leung, Toronto Camera Club "Escape"

e. Brigiette Holzl, Victoria Camera Club

"In My Dream" f.

Mike McCarthy, Photographic Guild of Nova Scotia "Cara Pin-Up"

Competition Winners

a.

b.

c.

f.

e.

Digital "Altered Reality" Individual Competition

d.

Images

20 January 2010 Host: Chatham Camera Club, Chatham ON

a. Gold Medal & Certificate of Merit 3rd

Joy Gerow, LangleyBC

"Old Happy Face"

Gold Medal - Joy Gerow, Langley BC Silver Medal - Judy Griffin, Etobicoke ON Bronze Medal - Gordon Schmidt, Scarborough ON

b.

Certificates of Merit

c. Certificate of Merit 2nd

Mary Chambers, London ON

"Fantasy Fishing"

1st Judy Griffin, Etobicoke ON

"Midnight Rider"

Silver Medal & Certificate of Merit 1st Judy Griffin, Etobicoke ON " Midnight Rider"

2nd Mary Chambers, London ON

"Fantasy Fishing"

d. Bronze Medal

Gordon Schmidt, Scarborough ON

"Cathedral"

3rd Joy Gerow, LangleyBC

"Old Happy Face"

e. Sharron McKenna, Cowichan Bay BC

" Aaamsteerdaaam"

Bruce Gunion, Chair Digital Open, Theme, Altered Reality gunion @sympatico.ca

f.

Norma Lupton, Nanaimo BC "Sea Cycle"

CANADIAN CAMERA - 29

Competition Winners

b.

a.

d.

c.

e.

Digital Theme “3 of a Kind” Club Competition 20 January 2010 Host: Cowichan Valley Camera Club, Duncan BC Gold Certificate - North Shore Photographic Society, West Vancouver BC Silver Certificate - Lions Gate Camera Club, Vancouver BC Bronze Certificate - Victoria Camera Club, Victoria BC Certificates of Merit 1st Betty Andres, North Shore Photographic Society

"Eating Dust" 2nd Blake Ford, Victoria Camera Club

"Three Turtles" 3rd George Mitchell, Photographic Guild of Nova Scotia

"Three Drops" Bruce Gunion, Chair Digital Open, Theme, Altered Reality gunion @sympatico.ca 30 - CANADIAN CAMERA

f.

Images a. Certificate of Merit 1st

Betty Andres, North Shore Photographic Society

"Eating Dust" b. Certificate of Merit 2nd

Blake Ford, Victoria Camera Club

"Three Turtles" c. Certificate of Merit 3rd

George Mitchell, Photographic Guild of Nova Scotia

"Three Drops" d. Michael Elkan, North Shore Photographic Society

"Interior Light Barcelona" e.

f.

Randy Findlay, Lions Gate Camera Club "See No Evil, Hear No Evil, Speak No Evil" Michael Lambie, Victoria Camera Club "Balancing Act"

Competition Winners

a. b.

c.

f.

d.

Digital Theme “3 of a Kind” Individual Competition

e.

Images

20 January 2010 Host: Cowichan Valley Camera Club, Duncan BC

a. Gold & Certificate of Merit 3rd

Albert Mok, London ON

"RCMP Musical Ride"

Gold Medal - Albert Mok, London ON Silver Medal - Pamela Joe McFarlane, North Vancouver BC Bronze Medal - Neil leNobel, Richmond BC

b. Silver & Certificate of Merit 2nd

Pamela Joe McFarlane, North Vancouver BC

"Sweet Pea"

Certificates of Merit

c. Certificate of Merit 1st

Jacques Primeau, Repentigny, QC

"Olives"

1st Jacques Primeau, Repentigny, QC

"Olives" 2nd Pamela Joe McFarlane, North Vancouver BC

"Sweet Pea" 3rd Albert Mok, London ON

"RCMP Musical Ride" Bruce Gunion, Chair Digital Open, Theme, Altered Reality gunion @sympatico.ca

d. Bronze

Neil leNobel, Richmond BC

"Into The Trap" e. Ronald Kelman, Surrey BC

"Flying in Formation" f.

Gordon Schmidt, Scarborough ON "Three Pals" CANADIAN CAMERA - 31

26th Annual North Shore Club Challenge

The North Shore Photographic Society hosted the 26th Annual North Shore Club Challenge for digital images on Saturday, March 6, 2010 at the Kay Meek Centre in West Vancouver.

The North Shore Challenge is an annual event where invitations are sent to all photographic clubs who are members of CAPA in British Columbia and the Yukon.

Each club is asked to submit 10 images from 10 different makers into the Challenge. This year 33 clubs participated for a total of 330 images.

The judging was done by three outstanding BC photographers - Alfons Mueller, well-known nature photographer and judge at various lower mainland clubs and establisher of the

North Shore Challenge; Ian McGuffie, Director of Exposure Gallery in Vancouver and teacher at Focal Point Photographic College as well as President of the Vancouver Association for Photographic Arts; and Carol Fuegi who is a nature photographer well known for her photos of Brackendale eagles and other wildlife and landscape images.

All of these judges commented on the quality and broadness of the subject matter in the evening's competition.

The results of the competition were as follows: First place: Lions Gate Camera Club won the North Shore Challenge Trophy for 2010.

2010 Club Results for North Shore Challenge Placing Location CLUB NAME

Score

1 2 3 3 5

193 185 181 181 180

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Lions Gate Camera Club Victoria Camera Club North Shore Photographic Society Harbour City Photographic Club Chung-Ai Photographic Society

Because seven of the images received “23” points, the judges were called upon to reassess these images and choose the third place image. Honourable Mention ribbons are also given to the top 30 images g Submitted by Betty Andres, Past President

The top five clubs were as follows:

Vancouver Victoria West Vancouver Nanaimo Vancouver

• The top scoring image, and winner of the NS Challenge Gold Medal and the CAPA Gold medal was Peter Holmes of the West Vancouver Seniors Photo Club for his image “Short Eared Owl” with 25 points.

• Second place and receiver of the North Shore Challenge Silver Medal and the CAPA Silver Medal went to Al Wood of the North Central Seniors Association Shooters with 24 points for his image “Golden Stare”.

• Third place and receiver of the NS Challenge Bronze medal and the CAPA Bronze Medal went to Danny Chui of the Chung Ai Photographic Society for his image “High Light”, with 23 points.

capa@capacanada.ca www.capacanada.ca Tel. (250) 523-2378

The CAPA

Judging Course

The CAPA

Judging Course ©

©

Are you interested in learning how to evaluate and score photographic images or becoming a trained Judge?

Are you interested in learning how to evaluate and score photographic images or becoming a trained Judge?

CAPA is pleased to offer a brand new course that will teach you how to look at an image, Hosted by comment on its strengths and opportuniHarbour City ties for improvement, and how to correctly Photography Club score it at club events, as well as National and International competitions.

CAPA is pleased to offer a brand new course that will teach you how to look at an image, Hosted by comment on its strengths and opportuniThe Mississauga ties for improvement, and how to correctly Camera Club score it at club events, as well as National and International competitions.

You will quickly learn how to; • Identify The Strengths and weaknesses in a photograph • See the message the photographer intends • Spot the criteria that makes a photograph great • Understand the Techniques used to create the image • Set aside your own personal bias when evaluating • Apply a fair and impartial score to an image • Understand what judges look for in your photography • Discover new rules for evaluating photography • Know why it's ok to break rules for great photography • Qualify to become a CAPA Certified Judge

You will quickly learn how to; • Identify The Strengths and weaknesses in a photograph • See the message the photographer intends • Spot the criteria that makes a photograph great • Understand the Techniques used to create the image • Set aside your own personal bias when evaluating • Apply a fair and impartial score to an image • Understand what judges look for in your photography • Discover new rules for evaluating photography • Know why it's ok to break rules for great photography • Qualify to become a CAPA Certified Judge

This CAPA course, hosted by The Harbour City Photography Club is now scheduled for October 30, 2010.

For more information on how to register, or get more details, please contact Allen Bargen at president@capacanada.ca or by phone 604-270-1137.

This CAPA course, hosted by The Mississauga Camera Club, is now scheduled for September 25th, 2010.

For more information on how to register, or get more details, please contact Allen Bargen at president@capacanada.ca or by phone 604-270-1137.

CAPA_HA.MEDOC_7x4.9_CMYK_May10_FINAL.ai

1

10/05/10

4:18 PM

CANADIAN CAMERA - 33

Notice Of Election Divisional Directors And Zone Directors Term 2010-2012 Anual General Meeting University Of British Columbia – Okanagan Campus, Kelowna, BC AUGUST 1ST, 2010, 10:00 AM PDT CAPA Nominating Committee Jacques Mailloux, Bill Lloyd, Larry Breitkreutz, Bill DeMeester, Larry Easton, Joyce Chew Divisional Directors and Zone Directors The election of CAPA Divisional and Zone Directors will take place at the CAPA Annual General Meeting being held at the University of British Columbia Okanagan, in Kelowna, BC, on August 1st, 2010.

In accordance with the by-laws of the Canadian Association for Photographic Art, the nominating committee is seeking candidates for the following positions: Director Atlantic Zone Director Ontario Zone Director Prairie Zone Director Pacific Zone

Director Photographic Imaging Director Canadian Camera Conference Director Competitions

• Nominations close 45 days (June 16th, 2010) prior to the CAPA AGM, August 1st, 2010.

• All positions are open to CAPA individuals or family members in good standing.

• Please include your membership number and expiry date along with details of regional and/ or national service to CAPA, positions held in camera clubs or other relevant experience.

• Members interested in standing for the above positions should send a request via e-mail to the past-pres@capacanada.ca or by mail to CAPA, Box 357, Logan Lake, BC V0K 1W0.

• CAPA’s 2010 Annual General Meeting will be held at the University of British Columbia, Okanagan campus, Arts Building, room 103, in Kelowna, BC, on Sunday August 1st, 2010 at 1:30 pm PDT. For those unable to attend, please request a proxy form by e-mail from Michael Breakey, CAPA Executive Secretary at secretary@capacanada.ca. For those wishing to attend, a campus map is available by sending a request to the above email address.

For those who wish to stay overnight at the university, reservations can be made by phone at (250) 807-8050 or via e-mail at reservations.ubco@ubc.ca.

You’ve just bought a new digital SLR. Now, only one thing can come between you and great pictures:

A cheap filter.

The truth is, an economy filter will seriously compromise the quality of the pictures you take with your new DSLR. Trust the optical perfection of German-crafted B+W filters. The most important accessory you can have next to your camera.

34 - CANADIAN CAMERA

CAPA Conference

Summer 2011 July 1, 2, 3rd 2011 The London Camera Club is proud to announce that it will host the CAPA Conference in the Summer of 2011.

Preliminary planning for the three-day Conference includes a wide range of lectures on popular photographic topics of interest to today's photographer and many opportunities for attendees to participate in local field trips and exhibitions of their own photographs.

The CAPA Conference will also include exhibitions of CAPA print and digital/ slide competitions, A-V Shows and an Awards Banquet. Many talented CAPA members will be featured presenters as well nationally and internationally known photographers.

Stay tuned for further information.

ANNOUNCEMENT

Bridgestone Photo Contest Winners Algonquin College, Ottawa, Ontario, February 4, 2010, the stage was set for a memorable prize presentation. With over ­thirty-five award-winning pictures from across the country, Algonquin College’s auditorium was transformed into a lively art gallery for the 2009 Bridgestone Photo Contest.

All in all, 315 photos were submitted by 250 students representing eleven schools for the contest’s eighth edition. There were three winners for each of the participating schools, in addition to a grand prize winner and two honourable mentions, a first in this year's contest. Michele Amirault, Promotion & Communications Manager for Bridgestone Canada and Garry Carter, Coordinator and Professor at Algonquin College’s Photography Program were present to award Algonquin College's top three students.

CAPA Past President Jacques Mailloux was also in attendance as one of the three judges for this year’s contest edition. The works of the winners in each of the institutions stood out for their quality of execution and strong social messages, with a special focus on road safety. All three winning students in each school received cheques from Bridgestone Canada, sharing the prize money. In addition, the grand prize and all first place winners also received a one-year membership in the Canadian Association for Photographic Art, which has co-sponsored this event for the past three years.

Grand Prize, Amy Schriver, New Brunswick College of Craft and Design

Honourable Mention, Stephanie Davis, The Nova Scotia Community College.

This year, the grand prize went to Amy Schriver of the New Brunswick College of Craft and Design, who also received a Sony a500L DSLR from Sony of Canada Ltd. The two honourable mentions went to Kate Robinson, also of the New Brunswick College of Craft and Design, and to Stephanie Davis of the Nova Scotia Community College. g More winning images on page 36.

Honourable Mention, Kate Robinson, New Brunswick College of Craft and Design

Please visit the Bridgestone Photo Contest Website to view memorable images created by these photography students with a promising career ahead of them: www.BridgestonePhoto.com CANADIAN CAMERA - 35

Bridgestone Photo Contest

Langara College First Place: Tori Reid

Western Academy of Photography First Place: Jacqueline Shaw

Southern Alberta Institute of Technology - Polytechnic First Place: Samuel Dobrin

Holland College First Place: Chauntelle Gallant

Collége de Matane First Place: Francis Olivier Houle

Algonquin College First Place: Marie-Claude Leveillé

The Northern Alberta Institute of Technology First Place: Amanda Matskiw

McKay Career Training First Place: Vanessa Paslawski

Dawson College First Place: Yuhong Xie

NEW MEMBERS New Members and Donations April 19, 2010

DONATIONS Mildred Barrie Danny Johnson J. T. Tse

ONTARIO ZONE: Vicky Abrams-Ogg Peter Ferguson Elly Henne Scott Johnston Margot Kitchener Marie-Claude Leveille Norman Lightfoot Brian Mitchell Tomas Otevrel Maija Valdmanis Joseph Vitale

PACIFIC ZONE: Jeany Bae Derek Carlin Roberta Dixon Ismail Farahani Simonb Grant Brenda Hala

36 - CANADIAN CAMERA

Jane Hansell Linda Jones Santa Tom Kliner Nigel Laing Victoria Low Marion McCristall Christopher Motherwell Carol Priamo Scott Secord Jacqueline Shaw John Wei

PRAIRIE ZONE: Samuel Dobrin Krissy Higgins Amanda Matskiw Vanessa Paslawski Lynn Phaneuf Scott Prokop John Vander Toorn

QUEBEC ZONE: Francis Oliver Houle Xie Yuhong

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Featuring Nikon’s FX-format CMOS image sensor, with an area of 36.0mm x 23.9mm. It provides superior picture quality throughout a wide ISO sensitivity range, with advantages that include a large pixel size to ensure a higher signal-to-noise ratio and wide dynamic range, and improved circuit layout to efficiently increase the strength of the electrical signal from pixels.

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