Viewfinders Newsletter March 2022 by Viewfinders Photography Club of Brussels

www.viewfinders.be newsletter@viewfinders.be ©SabinePosdziech Newsle�er286, March 2022 Next meeting:9March Since 1994

Lookingforwardtoseeingyouattheclubmee�ngon9 March. Staysafe, RichardSylvester.

finallyonitslastlegsandsomesortofnormalityis returning(Fingerscrossed.Oh,Isaidthatalready...).

severaldayspriortothemee�ng.

Alunwillopenthemee�ngwithhisannouncements.This willbefollowedbyour“ImagetoEdit”postprocessing projectwherememberswillbeabletoshowtheir interpreta�onofimagesprovidedbytheclub.

ThemaineventisourexternalspeakerPeterBrodbeck.A formerViewfindersmember,Peternowlivesin Melbourne,Australia.Hispassionforphotographystarted at13whenheboughthisfirstKodakInstama�ccamera. Earlyonhealwayscarriedtwocameras,onewithB&W filmandonewithcolour.,Andhehasaweaknessfor B&Wphotography.Likemany,heisbasicallyself-taught. Heenjoysthechallengeofthemedphotoshoots,whether thatbeunderwater,throwingflourorpaintonmodels, ac�on,orlongexposureimages.Peterexhibitedwhenhe waslivinginBelgiumandSwitzerland,andenjoystaking imagesforhimselfandsharingthemonpla�ormslike FaceBook, Instagram andFlickr.Hefindsphotographya greatwaytorelaxandmeetpeople.Youcanseesamples ofhisworkat Behance ,and MyPor�olio.

Hopespringseternal...

Fororganisa�onalreasons-wehavetothinkahead...ourMarchmee�ngwills�llbeanonlineexperience,but fromAprilonwardwearefullyhopefulofholding mee�ngsinpersonagain.TheMarchmee�ngwillbenefit fromsomelessonsofthepasttwoyears,inthatour presenterwillinfactbeonlinehimself.FromMelbourne, Australia–afeatwewouldnothaveconsideredpossible notverylongago.Nexttothesehopefulsignsisofcourse theterriblenewscomingfromUkraine:Iamsurethatwe areallunitedinextendingwhatsupportwecantothe vic�msofthisterrible,inhumantragedy.

PreviewoftheFebruaryMee�ng ComejoinusatournextViewfindersclubmee�ng,which willbeheldonline,onWednesday,9March,star�ngat 20:00.Zoomlogininforma�onwillbesenttomembers

Betweentherain,hail,windandotherstormyweather, thesignsofannualrejuvena�onareappearingallaround us.FingersfirmlycrossedasItypethis(forgiveanytypos therefore),itwouldseemthatthisawfulpandemicis

ByAlunFoster INTRODUCTION 2 © KaimMerali

wereshotduringhistravelsinJapan.

3 VIEWFINDERSMEETINGFebruary9

ThemaineventoftheeveningwasourBlackand Whitephotoproject.Photosfrom9memberswere presented.Thephotoswereamixtureoffilm digi�za�on,blackandwhitejpgs,andblackandwhite conversionsfromcolorRAWimages.Thephotos showedanumberofdifferentse�ngs:parks,city architecture,rainystreets,landscapes,seascapesand islands,alongwithportraitsofadultsandchildren. Theyillustratedtheimportanceof(high)contrast, composi�on,geometryandleadinglines,texture,and shapeinblackandphotography.Inthediscussionthat followed,theimportanceofbeingableto“see”in blackandwhite,withoutthedistrac�onofcolor,was emphasized. Alunthenclosedthemee�ngthankingeveryonefor theirpar�cipa�on.

©NathanWajsman

FormoreimagesfromtheB&Wproject,seepg13 By RichardSylvester

Inhisannouncementsatthestartofthemee�ng, Alunsummarizedtheclub’sfutureclubac�vi�es whichincludeaphotopostprocessingexercisein March,theUrbanLifeChallengeinApril,andaWater photoprojectinJune.Galleryvisitsfollowedbyastop inacaféareplannedfor19February.Theclubisalso planningtovisittheJo&Zprintlabinthenearfuture. Sebas�anBoatcaprovided12�psinaveryinteres�ng andinstruc�vetutorialonLow-Light/NightPhotography.The�psincludedadviceontheuseofa tripod,aperturepriority,thechoiceofshu�erspeed andISO,underexposingusingexposurecompensa�on, choiceofwhitebalance,usingfastwide-anglelenses, lensOIS,incameraIBIS,shoo�nginRAWand/orJPEG, andtechniquesforholdingthecamera.The�pswere illustratedwithsomebeau�fulphotos,mostofwhich

urmonthlymee�ngon9Februarywasheld onlineviaZoom,withsome32membersin a�endance.

A�erawhile,IrealisedIwasjustusingandabusingmyfisheyelens,havingfunwhileplayingwiththear�s�cbarrel distor�onsontheedgesoftheframe.HowdidIgetthislens? Agreatphotographerhadthislensandduringaphotography workshopwithhim,Itesteditandsaid:“Iwantalenslikethis formyself,too.”Itissocomfortabletocopywhatother successfulphotographersdo,hopingthatifyourphotobagis iden�caltotheirbag,then90%ofyoursuccessisalready guaranteed. However,�megoesbyandwegrowup.Welearndifferent things,weacquirenewtechniques,thenewphotogearcan haveaninfluenceonourchangingstyleofphotographyand ourchangingstylewillinfluencethetypeofgearwechoose.It isasynergis�ceffectwherephotographerandtoolsinfluence eachotherinthisflowofcrea�on.

depthoffieldofthisfish-eyelensisimmense.Itwastooeasy, evenifthiswasamanualfocuslens:Ijustsetthefocusring between3mandinfinityandprac�callyeverythingI photographedwasinfocus99,9%ofthe�me.

A�ertheseyears,IfindmyselfcrazilyinlovewiththeFujinon XF35mmF1.4.Undernocircumstances,wouldIacceptthe ideathatIcouldpossiblygetanotherfish-eyelens.Thisisjust anexample,toshowhowwechange,howwethinkdifferently andneeddifferentthingsa�eraconsiderableperiodof�me. Backthen,whiletravelling,Iwantedtocapturealotwithinmy frameandhavinganarrowfocallengthlensmountedonmy camerawouldonlybringresentment.Now,Icancomfortably travelwithmy35mmprimelensonmy FujifilmX-H1 without beingfrustratedbythelackofanultra-widelens.

Thereisasayingthatasyougetolder,youbecome unimpressedbyalotofS.H.I.T.(superhighlyirrelevant things).Iwonderhowthisprincipleappliesinphotography,becausewearealsogrowingupinourphotography skills,styles,needsandvision. Ourwayofmakingphotographychanges,star�ngwiththe switchfromtakingsnapshotstomakingphotographs.We changethegearweuse,orgiveupusingsomelenses,while discoveringnewlenses;newfocallengthswillbecomeour favourites,whileotherswillloseourinterest.ThisishowI havemovedfromanultra-wideanglefish-eyelens,whichwas capableofcapturingnotonlytoomuch,butbasicallyalmost everything,tonarrowerfocallengths,usefulinisola�ngwhat isessen�al,againstdisturbingando�enunnecessary backgrounds. WhenIwas usingaCanon60DDSLR (morethan6yearsago),I wasinlovewithaSamyang8mmfish-eyelens.Ialso rememberlisteningtotheadviceofafellowphotographer thatthe35mmwasveryuninteres�ng,whenusedona1.5X cropformatcamera.Iwassomehowtrappedintobelieving thata35mmlensisnotwideenoughformyneedsandnot longenoughtogetclosertomydistantsubjects.ItseemedI hadmypriori�esverywelldefined.However,at8mm,the

BySebas�anBoatca GrowingUpInPhotography 4Samyang8mmfish-eye+EOS60DvsXF56mmF1.2+X-T1

Samyang8mmfish-eye+EOS60DvsXF16-55mmF2.8WR+X-Pro2

Samyang8mmfish-eye+EOS60DvsXF16-55mmF2.8WR+X-T1

Whatwouldbenext,forme?IthinkIwillstayhere(withFujifilm mirrorlesscamerasandtheiramazinglenses)foraverylong�me.I havestartedfromnothing,withonlythedesiretostepintotheworld ofphotography.Then,fromnowhere,onecameraappeared.Then somelensesandothercamerasandotherlenses,hopingthatyou willbereadyforeverypossiblechallengeandsitua�onin photography,beitstreetlife,portraits,travel,events,sports,wildlife, landscape,orastrophotography.

Manyenthusiastphotographerswouldremainatthislevel.ADSLRis apowerfultool,ifusedwell(andnotallthe�meinAutoMode,of course).As�mepassesby,youcanplayonthevaria�onsbetween addingdifferentlenses,specialisedforspecificpurposes,changing thekitzoomswithprofessionalzoomsandfastprimelensesand eventuallyupgradingthecamerawithanewmodel.Areasonable andexpectedstepwouldbeupgradingfromcropsensorcamerasto full-framecameras.

Samyang8mmfish-eye+EOS60DvsXF35mmF1.4+X-T1

Ipresumeacommonstartformanyofus,today,is usingthe smartphonecamera.Nextstepwouldbeacompactcamera,with be�erlenses,op�calimagestabilisa�onandop�calzoom.From there,itisonlynaturaltothinkaboutyourfirstDSLR,asthe expressionoftheperfecttoolforperfectphotos.

Ithinkitisaninteres�ngexercisetoreviewyouroldworkmade someyearsagoandseewhatfocallengthsyouwereusing,what typeofcomposi�onandwhatstyleofpost-processingyouhave applied.Becauseallofthesewillchange,in�me.

Samyang8mmfish-eye+EOS60DvsXF16-55mmF2.8WR+X-Pro2

Samyang8mmfish-eye+EOS60DvsXF16-55mmF2.8WR+X-T1

Andwhenwearereadytocompletethecircleofourlifeinphotography,thenwewillalsobeabletoreachthepinnacle ofmaturity,whilele�ngeverythinggoandtravellingallaroundtheworldwithnothingelsebutaLeicaMmountfilm camerainourhand.MaytheLightbewithyou,allandstayinspired!Some�mesitisnoteasy,butitisalwaysworthit.

Youmustkeepinmindthefactthatautofocus func�onalitydependsonwhatcameratypeandmodel youareusing.Soyouneedtolearnhowyourcamera’s autofocusisworkingandprac�cetomasterit.

Con�nuousAF(AF-C)/AIServoMode TheAF-Cmodewillautoma�callyre-adjustfocusifyou oryoursubjectmove.Allyouneedtodoiscon�nue half-pressingtheshu�erbu�onandtheautofocus systemwillautoma�callytrackmovementandadjust focus.

ManualFocus

SingleAF(AF-S)/SingleAreaAF/One-ShotAFMode The“SingleAF”mode(AF-S)willsnapintofocusonce, andifyoursubjectmoves,itwon’treacquirefocuseven ifyoucon�nuehalf-pressingthebu�on.Hence,the focusremains“locked”.

Youcanofcoursedisabletheautofocussystemand focususingyourhandandyoureye,some-�meshelped bypeakingsystems.Insomesitua�onsthatwillbethe onlywaytogetasharpimage,forinstancesome�mes whenthere’sawindowbetweenyouandyoursubject. HowisAutofocusWorking?

Camerasallowsphotographerstochoosewhichfocus points,theli�lesquaresintheviewfinder,willbeused bytheautofocussystem.Thatcanbeasingleone,e.g. forfocusingonaneyeinaportrait,ablockofthemor evenallofthem. AUTOFOCUSMODES

Forautofocussystemstofunc�onproperly,theyneed anareaofhighcontrast.Ifyouuseyourcameratofocus onawhitewallwithnotexture,orablueskywithout anyclouds,yourautofocussystemwilltrytofocusafew �mesandeventuallygiveup. ThatalsomeansthatAFneedslighttoworkproperly.If

FocusPointsandAF-AreaModes

Thisar�cleisbasedon AutofocusModesExplained by NasimMansurov(photographylifeOct2020).

ContrastDetec�onAFreliesonso�warealgorithmsthat “probe”throughareasofanimageforedgedetail.

Knowinghowtousetheautofocussystem effec�velyisessen�altogetsharpimages.Abadlyfocused,blurryimagecanruinaphotographandyou cannotfixitinpost-processing.

Somesensors(e.g.CanonDUALAF)areintegra�ngthe microlensesremovingtheneedtohaveaspecificsensor forAF.

ByPhilippeClabots FocusModes 6

notenoughlightisreachingthesensortheAFwill rapidlystruggletogetthefocusright,hencetheadded valueoflenseswithahighopening(lowF). PhaseDetec�onAFvsContrastDetec�onAF PhaseDetec�onAFusesdedicatedhardware(anarray ofmicrolenses).Aslightpassesthroughthesemicrolenses,itsplitsupintoapairofimages.Thedistance betweentheseimagesisthenmeasuredtoseehowfar frontorback-focusedthesubjectis.

amerasareequippedwithadvancedautofocus systemsthatareo�enhardtounderstand.

Somecamerasalsohaveamode called“AFAuto”(AF-A)whichis basicallyahybridmodethat automa�callyswitchesbetweenAF-S andAF-Cmodes.Ifthecamerathinks thatthesubjectissta�onary,it switchestoAF-S,andifthesubject moves,itwillautoma�callyswitchto AF-Cmode. Face/Eye/SubjectDetec�on Asourcamerasarebecomingmore andmorepowerfulfromacompu�ng pointofview,newautofocusmodes areappearing.Forinstance,some camerasarenowabletodetectaface oreveneyeinasceneandfocuson thiselement.Thesecapabili�esare relyingonso-calledAr�ficial Intelligence(AI)/DeepLearning(DP). Whentousewhat? I’lladdhereatableaboutthe differentfocusmodesbutIwill explainitfurtherduringmy presenta�onatoneofthenext Viewfindersmee�ngs. Sources Back-Bu�onAutofocusExplained: h�ps://t.ly/brzC AutofocusModesExplained: h�ps://t.ly/4W7d WhatisDeepLearningAF:howdoes Canon'sAI-poweredautofocuswork? h�ps://t.ly/bAXG ExploringCanon'sintelligent autofocussystem: h�ps://t.ly/QXc0

ByPhilippeClabots FocusModes(con�nued) 7

AFAuto(AF-A)/AIFocusAFMode

S ayingthatFrédéricPauwels'reportagesaretouchingis notenough.Theyarestabbing,theysparenothingto thereader.Hisimagesaresome�mesblunt,but respec�ulwhenitcomestoweak,helplessordistressed people.Eachseriesisvisuallytellingastrongstorywhichis thenreinforcedbyatextthatmakesusdiveevenmoreinto whatFrédéricPauwelswantstotellus.

Convincedthatphotographydesribesbe�erthanwords,he wishestoreportonthesitua�onsthattouchhim:the undocumented,thehomeless,theendoftheracetracksin Belgium,musicinthehospital,theNorthDistrictof Brussels,thedestruc�onofDoel(avillageabandonedby theinhabitantsfortheenlargementoftheportofAntwerp), thedailylifeofwomenpros�tutesinBelgium,migrantsin Calaisandtheworkofasexualcompanionfordisabled people.

FrédéricPauwelstellsusabouteverydaylife,eventhose liveswedon'twanttosee.Hisphotographyisaweapon againstindifference,photographywhichallowshimto expresshisrevoltasamanfacingaworldwheresharingis nottherule.FrédéricPauwelsinsists:itisimportantto showthosewhoseliveshavechangedthroughaspiralof hardlifecircumstancesorthroughasitua�onofsocialand emo�onalbreakdownwhichhasledthemtobewithout perspec�veorfuture.Allthiswasdrivenby,saysFrédéric,a strongneedforunderstandingwhatishappeninginsociety. Howandwhydidthepersoninfrontofmecomeintothis difficultsitua�on?

HereishowHUMAdescribesFrédéricPauwels’work: “Alongsidehisinvestmentasaphotojournalistforvarious newspapers,FrédéricPauwelspursuesmanypersonal projects.Hephotographscausesthroughlong-termprojects thatconcernhimpar�cularly.Heistotallyinvolvedinit.Itis essen�alforhimtoreportaboutthese.”

FrédéricPauwelsispartofHUMA,acollec�fofthree photographersandajournalist.HUMAwasfoundedin 2011.Itsmembersportraysocialinclusion,educa�on, humanitarianaidandfragilepeopleandtheircommuni�es. Theirpicturescapturesocialandindividualresilienceandat thesame�metheymakevisibleinjus�ceanddifficul�esof oursociety.

Photographersinfocus:FrédéricPauwels 8 BySabinePosdziech

awardedits2018JournalismPrizeinthe“pressphotography”categorytoFrédéricPauwelsforhisphoto“Le rendez-vous:sexethandicap”.Forthissamework,heis nominatedfortheBelfiusPrizeforthewri�enpresswith thejournalistElisabethDebourse.”

FrédéricPauwelsisassociatedwithDoctorsoftheWorld,of whichhehasbeentheofficialphotographerformanyyears. HewasnominatedfortheDexiaPrizeandisthewinnerof the16thNa�onalOpenPhotographyPrizewiththeHeritage Prize/FriendsofUnesco.

TexttranslatedfromFrédéricPauwels' webpageHUMA (in French). 9

In2017,hewonthe17thNa�onalOpenPhotographyPrize. In2019,theParliamentoftheWallonia-BrusselsFedera�on

In2011,hejoinedforceswithVirginieNguyenHoangand GaëtanNerincxtocreatetheHUMAcollec�ve.Theirvision isbasedonvoca�on,commitmentandhumanvalues.They prac�cedignifiedandrespec�ulphotographythatshows in�matelywhatshouldbealsounderstoodfromafar.

Myworstphotoexperience: onday2ofa4weekholiday inCostaRica(insummer2019) mycamerastoppedrecordingfiles. TriedeverythingIcould-nothing (ItwasreplacedbyFujionmy return).Gladmysonhadmyold CanonDSLRandIhadacompact (CanonG10)asabackup.

•minimalism-becauselessismore.Really.Andagood waytotakeastepbackandreallythinkabouthowyou aregoingtocomposeanyshot.

Mymaingenreofphotography(some�mescombined): dayofholidayathome:apartofBrusselsI’venever beentoorontheothersideoftheplanet-Iloveto discovernewplaces.

10 MeetNicolasJouveneaux-innumbers 40

51 yearsonthisplanet 15 yearslivinginBrussels-ofwhich14inSchaerbeek 9 yearsasamemberofViewfinders.That'salsothe numberofyearssinceIstartedtocyclearound Brusselsasmymainmeansoftransport. 2 children(an18yearoldboyanda13yearoldgirl). 3 countrieswhereI’velivedinformorethanayear (Francetostartforabout29yearsinLilleandParis, thenLondonfor6yearsbeforemovingtoBelgium)-a trueEuropean.

•travel-beforeCovidIdon’tthinkI’vespentasingle

•macro-fortheabilitytoviewmundanethingsinnew ways •street-togetoutofmycomfortzone yearssinceItookmyfirstphoto-usingtheCanonA1thatmydado�enhadwithhim 26 yearssinceIboughtmyfirstSLR-aCanonEOS500whenIgotmyfirstpay. yearssinceIboughtmyfirstDSLR-aCanon10D-justbeforethebirthofmyson 4 yearssinceIboughtmyfirstmirrorless-aFujifilmX-T20-nowreplacedbyaX-T4 5 lensesinmybackpack,fromamanualfocusingSamyang12mmperfectforlandscapetoFujiXF100400thatIsharewithmysonforwildlife&birdphotography.ButtheFuji18-55f2.8-4istheonewhich ismostofthe�meonmycameraforitsversa�lity.

Exhibi�on Heliotropo37-GracielaIturbide Fonda�onCar�er,Paris 12February–29May2022 Anemblema�cfigureofLa�nAmericanphotography, GracielaIturbideworksaroundMexico’s ancestraltradi�onsandtheimportanceofruralrituals. Exhibi�onwebsite Exhibi�on Quisuis-je–EricWeytens chezBalsd'Art,Woluwe-Saint-Lambert 31March,1&2April2022 Upcomingexhibi�oninBrusselsbyourspeakerfrom January. Exhibi�onwebsite 8 WHAT’SUP?March-April2022 VFChallenge“UrbanLife” ForAprilmee�ng:submityourpicturesnolaterthanSunday3April. Par�cipa�onforClubmembersonly. Seeemailfrom16February.

9 DISCOVERY

TheGoldenRetrieverPhotographicSocietyby BruceWeber,édi�onsTaschen

FrenchphotographerThibaudYevninespent9 monthsinMozambiqueanddecidedtousehisold Smartphonetocapturediscretelyafascina�ng

MaputobyThibaudYevnine,édi�onsFiligranes countryanditspeople.

Averypersonalandveryunusualcollec�onof photographstakenbyfashionphotographerBruce Weber. Healwaystravelswithseveralgoldenretrievers collec�on.

whichsome�mesappearinhisfashioncampaigns andwhichappearaboveallinhispersonalphoto

©KathyMoran

©Diegonaranjo

©PeterTulp

Photoediting/Guestspeaker Challenge:Urbanlife Guestspeaker Club Meeting 08December 09March Club Meeting Club Meeting Club Meeting Club Meeting Club Meeting Club Meeting Speaker:DamienMaguire Speaker:BillFunk Guestspeaker:EricWeytens AGMMemberportfolios Membersphotos Challenge:Fragile Project:Water/Guestspeaker 22September 20October 10November 12January 09February 11May 06April 08June DATE EVENT DETAILS Club Meeting Club Meeting Club Meeting VIEWFINDERS CALENDAR2021-2022 Project:Black&White If you are onFacebook,connect tothe Viewfinders Group!It’san informalgroupforsharing newson events,‘forsale’items,interestingwebsites andnewsstories,orjust tosharesome ofyour recent photos. Bankaccount: BE133101 2440 newsletter@viewfinders.be7539 President AlunFoster VicePresident MiguelAngelVilar Secretary RichardSylvester Treasurer Caroline Hendry MembershipCoordinator DagmaraJakubowska NewsletterPublisher TineStausholm NewsletterEditor SabinePosdziech ITSupportCoordinator MiguelAngelVilar PublicityCoordinator MartinSchmid AssociateCommittee members: HectorEpelbaum KathyMoran MiguelRichardSabineMartinPhilippeKathy Angel Alun CarolineTine COMMITTEE MEMBERS 2021-2022 Anyitems frommembersforpublication are welcome.Images are particularlywelcome.Pleasesendtheminasseparate attachments (not embedded inemails ordocuments) inJPEG format, withno less than 2000px onthe longsideand minimalcompression. Please beaware that, inaccordancewiththelayout, somecropping mayoccur. Pleasesendsubmissions tonewsletter@viewfinders.be. PhilippeClabots AnneChristineBrouwers NicolasJouveneaux