Viewfinders Newsletter January 2021 by Viewfinders Photography Club of Brussels

Since 1994 Next meeting: 13 January - online

©Martin Schmid

Newsle�er 274, January 2021

www.viewfinders.be

newsletter@viewfinders.be

INTRODUCTION By Alun Foster

©Robert Paridaens

with the old (thankfully) and in with the new O ut(hopefully). Welcome 2021! With 2020 now behind us we are all, no doubt, looking hopefully towards 2021 to bring a return to some kind of normality. What exactly that will be we’ll s�ll have to figure out, but at least one where respect for the o�en less visible jobs prevails and where normal ac�vi�es and social contact is again possible without pu�ng lovedones at risk. And of course, one where we can restart our Viewfinders club ac�vi�es “in the flesh” (as they say). Realis�cally, though, it will probably be around Easter �me at best before this could be achieved (my personal es�ma�on): the �me for warmer weather, for the vaccines to kick in and the general infec�on level to be too low to ma�er anymore. Let us fervently hope that this is the case, anyway. On the other hand, this rather sobering experience has taught us a lot about “online life” and how we can use it for good things. We discovered that online mee�ngs are possible, and that they even allow members now living abroad to take ac�ve part again, how to do online vo�ng and a bunch of other backroom stuff. Life would have been really miserable without this, and maybe we can con�nue to benefit from it in the future with physical ac�vi�es augmented by online experiences, and (why not) some new types of ac�vity that we haven’t even yet though possible… (ideas to president@viefinders.be please…). Unfortunate though it is our January mee�ng will s�ll be a fully online event, we are fortunate to be star�ng 2021 with

a (very) remote speaker, thanks to this technology. So, let us all raise a glass together, to a brighter and be�er future, with good health, sunshine, human warmth, and lots of photos to delight and encourage. Cheers!

January Mee�ng Come and join us at our first Viewfinders club mee�ng for 2021 on the evening of Wednesday, 13th January, star�ng at 20:00. The login informa�on for our online Zoom mee�ng will be sent to all members by e-mail several days prior to the mee�ng. Alun will open the mee�ng with his announcements, and this will be followed by a short introduc�on to the concept of “Nega�ve Space” by Miguel Angel. Our external speaker for the evening is Ben Beechey, a freelance commercial photographer, who is living and working in Japan. Originally from the UK, Ben specializes in travel, documentary, event and portrait photography. Ben will be talking to us about life in Japan as seen through some of his personal projects and especially that related to the topic of Abandoned Places. You can see more of his work on on Instagram @benjaminbeech Looking forward to seeing you at the mee�ng. 2

VIEWFINDERS MEETING December 16 By Richard Sylvester

n his announcements at the start of the meeting, Alun mentioned the club’s new informal online get together, VF Café, that will begin in January, the “Image to Edit” project in March, the upcoming challenge in April on “Texture” and the benefits of club membership. A request was made to members to submit short texts on their favorite photographer to the Newsletter. Philippe Clabots then made a very interesting presentation on his workflow as a photographer, with the idea coming from an article published by Alun in the March 2019 Viewfinders Newsletter. He emphasized that a person’s workflow depends on their needs, the available technology, and that it evolves over time.

The main event of the evening was one of our semi-annual Challenges, this time on the subject of “Inside”, with Simon Pugh, a photographer living in Maastricht, as judge. The challenge proved to be very popular, with 23 members submitting a total of 42 images. The judge had his work cut out for him, as there were many different interpretations of “Inside”.

@Sebastian Boatca

Philippe explained the steps in his workflow, going from shooting to importing, culling, editing, exporting, and publishing his images. He emphasized the importance of keywording, no matter how boring it is, and the need to have a reliable photo backup system for when disaster strikes.

After the break, during which time the participants could vote for their People’s Choice, Simon provided very constructive comments on 13 of the images. He then presented and discussed his top 3 images: Third place went to Hélène Cook for her photo of passengers with varying facial emotions inside a moving bus, second place went to Philippe Clabots for his image of feet protruding from under the covers of someone sleeping just inside a window as seen from the façade of a building, and first place went to Sebastian Boatca for a very lovely portrait of his daughter inside of their home. The People’s Choice award went to Miguel Angel Vilar for his photo of the inside of a classroom, empty except for the teacher. Honorable mentions went to Hélène Cook for her photo of the bus, and to Gianluca Pagnini for his photo looking into people’s lives in houses on a street in Cuba. A discussion of the photos by the participants then followed. Finally, Simon was thanked for his excellent comments on the photos and for all of the work that he did in preparing for the meeting. Screenshots from the December Zoom meeting 3

ABSTRACT PHOTOGRAPHY By Mar�n Schmid

his is maybe my biggest Leitmo�v for myself in photography. Make something visible to the viewer through photography, that he would not see otherwise.

A few years ago, I travelled to Italy with my partner, and as we were travelling, we also went to see some famous places and sights like the leaning tower of Pisa, Venezia, or the cathedral (duomo) of Milano. It was great to see and experience these wonderful places, but as a photographer, I felt that I have seen already too many photographs of them, and that I did not want to further feed the “photographic devalua�on” of those places. Then I remembered my Leitmo�v, and started to experiment with double and mul�ple exposures. This gave me some horrible or useless pictures, but also some quite interes�ng results. I con�nued to shoot mainly triple exposures, and finally called the project “Triple-X”. The first series from the Triple-X project is “Kaleidoscope”, where I used my camera like a kaleidoscope, and let the viewer play with the pictures that are printed and can be turned and rotated like the children’s toy. What is it? There has been no commonly-used defini�on of the term "abstract photography".

Personally I like what Photographer and Professor of Psychology John Suler, in his essay Photographic Psychology: Image and Psyche, said: "An abstract photograph draws away from that which is realis�c or literal. It draws away from natural appearances and recognizable subjects in the actual world. Some people even say it departs from true meaning, existence, and reality itself. It stands apart from the concrete whole with its purpose instead depending on conceptual meaning and intrinsic form.... Here’s the acid test: If you look at a photo and there’s a voice inside you that says 'What is it?'….Well, there you go. It’s an abstract photograph." All images ©Martin Schmid

“Abstrac�on allows man to see with his mind what he cannot see physically with his eyes.” ― Arshile Gorky

with all the technical rules, guides, tutorials, do something abstract, and define your own rules (or not). How to start? Let me give you 2 star�ng ideas: Go through the pictures on your computer that are “rejects”, i.e. pictures that are blurred, not exposed properly, or somehow not according to the “rules” of photography, and find the ones that speak to you, ones that you like and find interes�ng, even if you don’t know why. Get inspired! I have posted below a few things that I found interes�ng in connec�on with abstract photography. The discussion about photography as an art form is for me very interes�ng, as it dives :~) into the above men�oned iceberg/surface topic. (see Alfred S�eglitz, for example the link listed below) Otherwise get inspira�on from exhibi�ons, museums, books, ar�sts… and don’t get fixated on other people’s work, but enjoy the crea�ve freedom of abstract photography. Why? I have done already a few abstract works and series before, so let me give you just a few key reasons why I think it’s worthwhile to get into abstract photography: Gear No addi�onal gear needed (sorry my dear gearheads ;~) You might not even need a camera (example Man Ray etc). I am sure you will s�ll find reasons for this new gadget anyway ;~). Growth For me photography is all about crea�vity, and growth is about pushing (my) limits. Doing something new, breaking rules and tes�ng new techniques are things that help me to grow in depths, but also in widths. Dare Like above, where you dare and challenge yourself, dare to challenge others as well. Abstract photography requires a certain willingness to look beneath the obvious. Prepare to get some rejec�ons or nega�ve comments, and on the other hand enjoy and engage in discussions about your pictures. There is nothing more boring than a picture where there is nothing to talk about.

Inspira�ons Alfred S�eglitz: Meet the Ar�st Who Popularized Photography in America h�ps://the-ar�fice.com/alfred-s�eglitzpopularized-photography-america/ h�ps://www.theartstory.org/movement/abstractphotography/#nav The Duesseldorf school of photography – in the context of abstract photography, I like what Thomas Ruff and Andreas Gursky are doing Wolfgang Tillmans – There was a exhibi�on about his work in Wiels beginning of this year. Abstract ar�sts and painters like Wassily Kandinsky, Piet Mondrian, Joan Miro, Jackson Pollock….

AI (Ar�ficial Intelligence) A great photo for me is like an iceberg: Most of it happens underneath the surface. Computa�onal photography, AI, robo�cs etc., are recently quite controversially discussed in photography. For me, these things mainly focus on the surface of a photograph, and are connected with the devalua�on of photography in general. Abstract photography could be one way to escape the faster and faster consump�on of photos we see currently, and focus a bit more on what lies beneath (don’t be afraid). Freedom The most fantas�c thing in my view about abstract photography, is that there are no rules, and you are completely free to play and experiment. So if you are fed up 5

MONITOR CALIBRATION By David Van den Bunder

ith the advent of digital, the number of tools available to photographers has increased drama�cally. Small, affordable printers that produce results that rival professional prin�ng labs; digital development so�ware that easily allows effects that previously could only be achieved with a lot of skill and experience; the examples are many. Today, your computer is your digital darkroom and you can have your own print lab. But, ge�ng the images from your camera to your computer for prin�ng is one thing, ge�ng the prints to look like you want is quite another. I'm sure I'm not the only one to be disappointed because they were too dark, or too bright, or the colours were off. In these cases, the culprit is usually your computer monitor. Indeed, on the front of most monitors is usually a collec�on of bu�ons to make changes to contrast, brightness, colour temperature... You can make those same adjustments on the video card through so�ware, too. This creates an enormous number of ways to customise your monitor, and so control the way images are displayed. Choosing a correct combina�on of se�ngs, or “calibra�ng your monitor”, is therefore impera�ve. Monitor Calibra�on Calibra�ng your monitor can be done in two ways: either by so�ware that helps you judge the way images are being displayed and allows you to adjust the calibra�on se�ngs accordingly, or by using a device that measures the colour rendi�on and brightness of your monitor and corrects them automa�cally. Either way, there are a couple of other things that you should keep in mind. First, always do your digital development in similar ligh�ng condi�ons. Avoid bright lights that shine directly on your monitor, as this will alter your colour and contrast percep�on, so you will make bad edi�ng decisions. Second, before doing any calibra�on, wait at least 30 minutes a�er you have turned on the monitor to let it "se�le".

So�ware solu�on: Adobe Gamma The first method is to use so�ware that provides calibra�on pa�erns that make it easier to adjust the se�ngs and store them in an “Image Colour Management” file (.icm) which will applied to your monitor. Several programs like this exist (both free and proprietary), but I use Adobe Gamma, supplied with most Adobe graphics products including Photoshop and its li�le brother Photoshop Elements. If you don't have any of these programs, there are several free alterna�ves available, including QuickMonitorProfile. I have no experience with such u�li�es, but since their func�onality is essen�ally the same as Adobe Gamma, there shouldn't be much difference in use. But do try them, and let us know how they work! Regardless of the program you use, the calibra�on procedure is always more or less as follows: - determine the white (colour temperature) and black point (brightness and contrast) of your monitor - adjust the gamma, preferably in all colour channels separately (red, green and blue) - store all se�ngs in an ICM calibra�on profile Calibra�on and colour matching pa�erns are usually displayed as a reference for making the adjustments. As an example, the Adobe Gamma interface is shown in the image on the le�. Text edited by Alun Foster

The resul�ng ICM file can be applied to your monitor via the colour management tab in the advanced se�ngs screen for display proper�es. However to benefit from your calibra�on you must use programs that are ICM compa�ble, meaning they can read the se�ngs in the ICM file and take them into account when displaying images. Aside from the Adobe programs, there are many other image-management and -edi�ng tools that also provide ICM support such as Paint Shop Pro, CorelDraw, Acdsee, .. If you are using a Mac (un�l now I shamelessly assumed you have a Windows™ PC) things are a bit different. The Mac version of the Adobe graphics products also includes Adobe Gamma, but it is preferable to use Apple's own Colorsync Calibrator so�ware, which is included with the opera�ng system. The benefit of this tool is that since it works on the system-level, changes you make are reflected in all programs, which is not the case in Windows. Apart from that, the calibra�on procedures for Mac and Windows are virtually iden�cal.

Using the special so�ware supplied, it will create a calibra�on profile automa�cally without the need for any interven�on from you, and only takes about ten minutes. That's about all there is to say about this really. You just plug it in, wait a few minutes and voila! Instant calibrated monitor! Of course, this comes at a price. Depending on the brand/model, these may set you back about 150-300 euros.

By using a so�ware calibra�on tool, your chances for ge�ng prints that look exactly like they do on a monitor increase drama�cally. However, since these tools s�ll rely on your subjec�ve judgement on how colour pa�erns should look on screen, they are imprecise by design. Expect to make minor adjustments regularly, before you are really happy with the results. If this is unacceptable to you, and you prefer to have a perfectly calibrated monitor straight away, then a hardware solu�on is the only way to go.

The price depends on what can be calibrated: cheaper models only work for tradi�onal CRT monitors (the big clunky desk-fillers), whereas more expensive models can also calibrate flat-panels, laptop LCD's and even beamers! Some can also be used to calibrate your own printer.

Addi�onal �p: If you always use the same printer or prin�ng shop and your prints s�ll don't look right, consider using one of your prints as a reference and change your monitor se�ngs to make sure that the image displayed on screen matches the print as closely as possible. Use a high-contrast image with lots of different colours, or perhaps take a picture of a “gretag-macbeth” colorchecker chart [you can find these on many internet shop sites – just Google it].

The choice is yours then: use a (free) so�ware calibra�on tool with varying success, or spend some hard-earned cash on a calibra�on “spyder” that gets the job done easily and quickly. Personally, I've been quite happy with Adobe Gamma un�l now. My printed images don't look no�ceably different on screen, or at least to me they don't. I'm sure someone with a more discerning eye could easily spot some differences. But I can live with that... for the moment.

Hardware solu�on: monitor-profiling devices If you are really serious about calibra�ng your monitor, a dedicated calibra�on device is what you need. Several manufacturers offer these, but among the most well-known is possibly Colormunki.

Conclusion

One final note: with all this talk about monitor calibra�on, we shouldn't forget that if you print your pictures at home, your printer needs to be calibrated as well! The same is true if you scan analogue images – the scanner also needs calibra�ng. Normally, a printer or scanner profile is provided by the manufacturer, but in some cases, for example when you print on special paper or use third-party ink cartridges, this profile may need some tweaking.

Regardless of the brand or model, they all pre�y much work in the same fashion: you a�ach a calibra�on device (more commonly called a "spyder") to your screen that measures the colours, brightness and contrast of your monitor.

All images ©Philippe Clabots

MEET Philippe Clabots

am Philippe Clabots, from Brussels. I am married and have two kids and, since mid-2018, one grand-daughter. I'm a club member since Sept 2012 and an associate committee member since 2018. I think I'm one of the few club members who’s native from Brussels.

photographers, who will recognize themselves, but also, since 2014, with the public during the exhibitions in which I have the unceasing pleasure of participating.

I’ve always been attracted by photography but my passion started in 2007-2008. In 2009 I’ve bought my first digital SLR, a Canon 50D. Since then I’ve moved to full-frame with a Canon 6D and then a Canon 6D Mark II. I’m buying good Canon EF lenses for more than 10 years now, from 14mm to 400mm, and I’m not keen to throught them away. So my next move will be one of the Canon full-frame mirrorless camera.

In 2018, we are four photographers to have set up the "Bruxelles Pixels" collective, joined late 2019 by Hélène, a famous VF member. We’re currrently starting the preparation of our 4th exhibition that will take place late 2021.

Initially centred on opportunistic photography, depending on my daily life or my travels, I am moving more and more I used to travel for my job, spending nearly two days a week towards coherent sequences of images with the aim of in Paris for 10 years, but now I’m, as most of us, a telling a story, transmitting an emotion or bearing witness teleworker. to a moment in life.

Web - Facebook - Instagram - Flickr - 500px Bruxelles Pixels : Web - Facebook

Self-taught, I was formed thanks to readings, Facebook groups, perseverance, the will to improve myself and thousands of photos. I am nevertheless convinced that the essential element of this progression, or rather initiatory journey, is the encounters I made during these years. Meetings with

EXPOSURE

©Philippe Clabots

By AlunFoster

ery important in photography, as we know. Got to get it just right. Not too li�le, and not too much. There is one sort of exposure you really cannot get too much of, though, and that is ge�ng people to see your photographs!

- A name as you would like it to appear (just your name, an ar�st’s or gallery name)

As a service to members, Viewfinders offers a facility to link to a personal gallery from a special page on the club website. This can be to your own website or to a publicly accessible gallery on any of the online services such as Instagram, flickr, 500px, etc... In fact, to anything that is accessible via a straigh�orward URL.

- An illustra�ve image (ra�o = 4:3, e.g. 1000x750 pixels), usually a portrait of yourself (though why be conven�onal?)

- A short text to describe yourself/your photographic work etc... (see the page for examples)

- Contact details (op�onal: only if you wish to be contacted directly) - The URL to link to your personal website or online gallery

Members can have their own gallery showcased by contac�ng (These instruc�ons are available also via the Galleries page). the Commi�ee, using the Contact Us form on the main viewfinders site. Providing a link and a name (as you would like Viewfinders welcomes anybody with a passion for it to appear on the page) is all that is needed to get listed in photography, be they hobbyists, amateurs, (semi-professionals the Members Galleries page. (or those wishing to become one). We want to support them in their photographic endeavours, and helping to proudly Op�onally, for extra visibility, you can have a small profile present your work to the world is just one way we hope to do about yourself with a �tle image. For this you would need to that. provide: So, go on – don’t be shy: share your gallery with us, and the world!

FAMOUS PHOTOGRAPHERS: Felice Beato By Dagmara Jakubowska

here's a story about how I came across Felice Beato's oeuvre. I have a book on the life of one of the last samurai warriors of Japan, who lived during the period when Beato was photographing Japan. The book also contains photographs of samurai (as illustra�ons, not of the main protagonist), their weapons etc. and one of the photos cap�vated and fascinated me. So I started rummaging around on the Web to find out more about the author of that photo and his work, and that is how I came to know Felice Beato. Felice Beato was born in Venice in 1832 and though of Italian origin, was a Bri�sh subject. He was one of the first photojournalists and travel photographers; he also pioneered and refined techniques of hand colouring images and making panoramas. His photographs were mainly albumen silver prints from wet collodion glass plate nega�ves Not much is known about his beginnings as a photographer, but he probably met Bri�sh photographer James Robertson in Malta in 1850. Robertson ran one of the first photographic studios in Constan�nople (now Istanbul). In 1853 they began to photograph together, and in 1855 they went to Balaklava in the Crimean Peninsula to cover the war. Unlike the previous photographer who documented that war and who concentrated on its heroic aspect, they showed the destruc�ve side and changed the way war was photographed and depicted. In 1858 Felice Beato went to India to photograph the a�ermath of the Indian Mu�ny. He made images of the main sites of the rebellion and had corpses of the rebels included in some of the images for added impact. In 1860 he went to China to document the Second Opium War; his photographs are some of the earliest ever taken in China.

But the most prolific �me of Felice Beato’s photographic career was in Japan, where he spent more than 20 years. His �me there coincided with a turbulent moment in Japan’s history, when the Tokugawa Shogunate ended and the Meiji period began, which would bring Japan into the modern era. In 1860 Beato set up a photographic studio in Yokohama, which quickly achieved success as he offered the first handcoloured photographs, as well as albums of photographs of the country. His photographs of Japan encompass portraits, genre works, landscapes, cityscapes as well as a series of photographs documen�ng the scenery along the Tokaido Road - an important route connec�ng Kyoto and Edo (now Tokyo). The portraits he made depict samurai, o�en in full armour, as well as geishas in their finery, but also ordinary people engaging in everyday ac�vi�es. His images are remarkable as they provide a rare glimpse of Japan at the end of the shogunate, at a �me when few Westerners were able to travel there. A�er leaving Japan he also made images of Korea, and then went on to Burma, where he again photographed various aspects of life in that country and ran a curio shop in Mandalay. His photos of Burma were included in numerous publica�ons of the day and came to represent the image of Burma to the world. Felice Beato died in Italy in 1909.

(Sources: Wikipedia; J. Paul Ge�y Museum website)

WHAT’S UP?

VF Café Later in January we will start a new feature for our paid members. As we are s�ll not able to meet face-to-face, we would in addi�on to our monthly Viewfinders mee�ngs on zoom, start a more informal and more social and interac�ve get-together (virtually). It’s like mee�ng at the café (or pub), where we (mainly) talk about photography related things. So get your drinks and crisps (or other treats) ready, you will receive soon an invite for our first Viewfinders café / Vf café. Ideally you should download the latest version of Zoom. We will see if there are other tools/pla�orms that are be�er or more fun to use, but we will start on zoom.

ONLINE EXHIBITIONS Analog Forever Magazine Founded in 2018, Analog Forever Magazine is an online and print publisher of contemporary analog photography. Their goal is to highlight the best of the best from the analog industry including ar�sts, projects, galleries, and curators. Every month they show an online exhibi�on with a defined theme and different curators each �me.

Dorothea Lange at OMCA Collec�ons Dorothea Lange and other photographers of the 1930s and '40s created an indelible record of everyday life in difficult �mes. The Great Depression caused many photographers to consider the camera as an instrument of social change.

Spring Shoots Virtual Fes�val

©Philippe Clabots

Dates: 6 & 7 March 2021 The Photography Show will host a packed weekend of exclusive talks and demos from legendary photographers, tailored masterclasses, and the very latest kit from top brands. Spring Shoots virtual fes�val offers you the opportunity to check out and explore products from a host of photography and video brands, and pick up �ps, tricks and inspira�on along the way – and all this from your couch! 12

DISCOVERY

(Re)-Discover Michael Freeman's books The Photographers Eye - from 2007 Design is the single most important factor in crea�ng a successful photograph. The ability to see the poten�al for a strong picture and then organize the graphic elements into an effec�ve, compelling composi�on has always been one of the key skills in making photographs.

Fi�y paths to crea�ve photography This book from 2016 is a follow-up to the previous. As 'The Camera Store', in Calgary, Canada, writes - “this isn't a technical manual looking at camera se�ngs, but a volume which will encourage you to explore what makes great photograhy.”

Digital photography has brought a new, exci�ng aspect to design - first because the instant feedback from a digital camera allows immediate appraisal and improvement; and second because image-edi�ng tools make it possible to alter and enhance the design a�er the shu�er has been pressed. This has had a profound effect on the way digital photographers take pictures.

In Freeman's own words "There's a long line of opinion, from Plato through Kant, that holds crea�vity to be unteachable, and to be the province of genius. You have it or you don't. End of story. I don't agree"

Now published in sixteen languages, The Photographer's Eye con�nues to speak to photographers everywhere. Reaching 100,000 copies in print in the US alone, and 300,000+ worldwide, it shows how anyone can develop the ability to see and shoot great digital photographs. The book explores all the tradi�onal approaches to composi�on and design, but crucially, it also addresses the new digital technique of shoo�ng in the knowledge that a picture will later be edited, manipulated, or montaged to result in a final image that may be very different from the one seen in the viewfinder.

By looking at the work of other great photographers, as well as Freeman's own work, the book provides the reader with 50 "paths" they can explore to think about taking photos, looking at subjects from cliché to zen, so you will be able to hit the right point in surprise, originality, insight and execu�on every �me. Text from goodreads.com

“The best images are the ones that retain their strength and impact over the years, regardless of the number of times they are viewed.” Anne Geddes

VIEWFINDERS CALENDAR 2020-2021 DATE

EVENT

DETAILS

13 January

Club Meeting

External Speaker: Ben Beech

10 February

Club Meeting

Food Photography project

17 March

Club Meeting

21 April

Club Meeting

Challenge: Texture

19 May

Club Meeting

Negative Space Photo project

09 June

Club Meeting

AGM & portfolios

COMMITTEE MEMBERS 2020-2021 President

Alun Foster

0496 572 402

alun@dafos.be

Vice President

Miguel Angel Vilar

0477 942 743

mavg30@gmail.com

Secretary

Richard Sylvester

0474 300 086

rsybru@gmail.com

Treasurer

Caroline Hendry

0494 089 098

caroline.hendry@mecar.be

Membership Coordinator

Dagmara Jakubowska

0485 796 565

jdagmara@yahoo.co.uk

Newsletter Publisher

Tine Stausholm

0468 062 875

tine@stausholm.uk

Newsletter Editor

Sabine Posdziech

0497 122 236

sabine.42@hotmail.fr

IT Support Coordinator

Miguel Angel Vilar

0477 942 743

mavg30@gmail.com

Publicity Coordinator

Martin Schmid

0498 945 083

martin.schmid@hp.com

Programme Coordinator

N/A

AssociateCommittee members:

Philippe Clabots

0477 264 681

pclabots@gmail.com

Hector Epelbaum

0495 128 128

hectorVF@veqtor.com

Robert Paridaens

0475 203 524

paridaensrobert@hotmail.com

Alun

Miguel Angel

Richard

Caroline

Tine

Sabine

Martin

Philippe

Robert

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Bank account: BE133101 2440 7539

Any items from members for publication are welcome. Images are particularly welcome. Pleasesend them in as separate attachments (not embedded in emails or documents) in JPEGformat, with no less than 2000px on the long side and minimal compression. Please be aware that, in accordance with the layout, some cropping may occur. Pleasesend submissions to newsletter@viewfinders.be.

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