Viewfinders Newsletter May 2022 by Viewfinders Photography Club of Brussels

www.viewfinders.be newsletter@viewfinders.be ©SebastianBoatca Newsle�er288, May 2022 Next meeting:11May Since 1994

Here’stomoretrips,mee�ngsandotherac�vi�es!Andif youhaveideas/sugges�onsforthingstodoorplacesto see,pleasedon’thesitatetoletusknow:the“what”is o�entrickierthanthe“how”(we’vebecomequitegood atthat ).

Lookingforwardtoseeingyouattheclubmee�ngon11 May.

RichardSylvester

Spring�meisnowdefinitelyhere,witnessthefresh greeneryandaccelera�ngac�vityaroundus.Great photographicopportuni�es,too,judgingbytheimages beingpostedonline(inourownFacebookgroup)andalso bythea�endanceatourrecentphotowalks(moreabout thoselater).

ManychangesalsoduetoCovidnotbeingofsuchgreat concernnow,andweholdreal,physical,face-to-face mee�ngs!(We’llkeepthe“livestreaming”op�onalive,at leastun�ltheendofthisseason,beforeevalua�ngit oncemore).Onecharacteris�cofthesemee�ngs,andof thetripsdonesofar,istheenthusiasmofthea�endees totalk.“Havingagoodchat”,astheysay,some�meatthe expenseoftakingphotos!Butwhocares:weevidently missedthesocialinterac�onmorethanwemayhave beenawareof,ourclubac�vi�esaremorethericherfor it,and-wehope-alsothebenefitfortheindividualswho makeupourclub.

Thiswillbefollowedbyour“Water”projectwhere memberswillshowus,insomeunusualorspecialway, whatwatermeanstothem. Imagesfromsomerecentphotowalkswillalsobeshown.

Alunwillopenthemee�ngwithhisannouncements.Our guestspeaker,CharlesHenniker-Heaton,willthenpresent ashorttutorialon“PreparingImagesforPrin�ng”.

ComejoinusatournextViewfindersclubmee�ngwhich willbeheldattheSwedishchurchontheeveningof Wednesday,11May,star�ngat20:00.Forthosewho cannotbepresent,Zoomlogininforma�onwillbesentto membersseveraldayspriortothemee�ng.

Aworldofchange

ByAlunFoster INTRODUCTION 2 © VirginiaPete�

PreviewoftheMayMee�ng

ewereonceagainabletoholdourmee�ngat theSwedishchurchduetotheeasingofCovid restric�ons.Themee�ngwassimultaneous streamedviaZoomtothosememberswhocouldnotbe physicallypresent.

Inhisannouncementsatthestartofthemee�ng,Alun summarizedfutureclubac�vi�eswhichincludethephoto projectinMayonthetopicofWaterandupcomingphoto walksatFloralia,PlaceFlageyandinGent.

PhilippeClabotsthenpresentedanoverviewoffocusing modeswhichappearedintheMarchnewsle�er.He discussedwhenandwhyyouwouldwanttousesingle autofocus,con�nuousautofocus,auto(hybrid)autofocus, andface/eyedetec�onautofocus.Hethenexplainedthe advantagesofpre-focusingonagivenloca�onformoving objectsandontheuseofhispreferredtechnique,back bu�onfocusingwhichseparatesautofocusfromtheshu�er releasebu�on.

Themaineventoftheeveningwasoneofoursemi-annual Challenges,this�meonthesubjectof“UrbanLife”,with DamienMaguireasjudge.20memberssubmi�edatotal of38digitalimagesandoneprint.

A�erthebreak,duringwhich�methepar�cipantscould votefortheirPeople’sChoice,Damienprovided commentsonaselec�onoftheimages.Hethen presentedanddiscussedhistop3images.Sebas�an BoatcaandKaimMeralisharedtheprizeforthebest digitalimage:forSebas�an’sphotoshowing“themetallic statueofapersonatthetopofahighladderreachingout tothemoon”andKaim’sblackandwhitephotoof “peoplewalkingalongtheseacoast”.Firstplace(best overallimage)wenttoHélèneCookforherphotoof“city nightlights”. ThePeople’sChoiceawardwenttoRichardSylvesterfor hisphotoof“youngstersjoyridinginthebootofacar” withHonorableMen�onsgoingtoJasonKravitzand Sebas�anBoatca.PeterTulpwasawardedthebestprint. Finally,thejudgewasthankedfortheworkthathedidin preparingtheChallengeandreviewingthephotos.Alun thenclosedthemee�ngthankingeveryonefortheir par�cipa�on. By RichardSylvester

3 VIEWFINDERSMEETINGApril6

©KaimMerali

Takingaposi�on Thefirststepwhentakingaphotographischoosingthe loca�onofcourse.Thatmightberightwhereweare,oritmay rewardsomeexplora�on.OK,there’snotalways�metolook aroundmuch.Howevergiventheimportanceofalignment withthesubject’sposi�on,theirbackground,anything distrac�ngnearby,andthewaythelightfallsonthescene,it paystoseewhatworkswellandwhatdoesn’t,justtopriori�se thechoices.

ByTrevorWaldron 4 Composi�on

onsideredcomposi�onisoneofthepillarsofcapture andexpressioninphotography.There’scertainlyno shortageofadviceintheliterature,ortheweb,about various�pstoimproveit.Butratherthanprovideanother “top20”listhere,Ithoughtitmightbeusefultosharesome widerthoughts,eveniftheystrayali�lebeyondtheusual boundsofcomposi�on.

O�enwespend�meandmoneytravellingtoashoot,and goingtheextramilewillyielddividendsintermsof composi�onalchoices.Atthesame�meonecanlookfor moreunusualviewpoints.Fromabove,lookingstraightdown forexample-sayfromabridgeoverariver,abalconyonan upperfloor,atower,acliff-allthesecanshowtheworldina differentway. Orderanddisorder Composi�onpreferencesareincrediblypersonal,andoneof myfavouritethemesisknownas“rhythmandrepe��on”.It doesn’thavetobeallneatandprecise,thoughitcanbe.Ifind ithasvalueinstructuringanimage,evenwhentherepe��on isloose.Theimageofpoplartreetrunksreflectedinacanalis stronglygeometricandgraphic,verydifferenttothealmost distortedorchardtrunksofaancientalmondorchard marchingacrossthefieldsinSpain.Butunderlyingbothisthe useofrepe��on.

Some�mesI’llseesomethinginasceneandgofortheshot,then laterdiscoverthatwhatcaughtmyeyewassurroundedbyvisual clu�erwhichIreallydidn’tno�cemuchatthe�me.Aconscious movetoavoidincludingtoomuchinascenewillo�engivea cleanercomposi�onandaclearermessageaboutwhata�racted youinthefirstplace.“Ifindoubt,leaveitout”.

Anotherin-cameratechniqueistothrowthebackgroundwell outoffocuswithshallowdepthoffieldusinglargeaperture se�ngs-usedextensivelyforportraitsandnaturephotography toli�themainsubjectfromitssurroundings.

Thegreatthingisthatthemindwilleducatethesensesandbody tomakequickdecisionsandchoicesinthefield,ifgivenplentyof prac�ce.Also,lookingbackoverpastshotswithacri�calbutkind a�tudegivesthechanceforaddi�onalself-learnings,thebest kind.

Mood,mistlow-light Moderncamerashaveamazinghigh-ISOquality.Soalmostgone arethedaysoflong�meexposures-andresul�ngriskof camera-shake-inrela�velydarkcondi�ons.Earlymorningand a�ersunsetaregreat�mestocapturemoodyshots.Similar condi�onsallowgraphicsilhoue�estobecaptured;justshoot intothelight,howeverdimitmightbe,andmaybeunder-expose abittogettheblacksrich.

Clarityandsimplicity

Snowisoneofnature’sgreatde-clu�erers,aswellasthrowing lighteverywhere.Nevermissanopportunitytogetoutinitfor somestrongcomposi�ons!Inthiscase,naturecleansupthe scenewonderfully.Thephotographercanalsode-clu�erby framingandcropping,payingspeciala�en�ontotheframe edges,whereanyclu�erwilldistractfromcentralsubjects.Incameraisbestofcourse,toretainimagequality,butsomeswi� edi�ngcanworkwonders,ifyou’renotaversetoit.

Mistisoneofnature’sgi�swhicho�enprovidesatmospheric images.Ifindthatshotsinmistcanunder-exposeifshoo�ng auto,whichgivesaslightlymuddyeffect.Adjus�ngthecamera’s exposuretocapturelighteroveralltonality,oredi�nglightlywill usuallysolvethat. Intui�onandgutfeel Intheintroduc�on,Imen�oned“top20”listsofcomposi�on techniques.I’vepersonallyfoundthemusefulovertheyears,but intheendthephotographer’sfocusmustbewhattheywould liketoexpressinanimage.Checklistscanberathermechanical, andthere’so�ennotthe�metocheckletalonethinkabouta longlistofhints.

TheMysteriousHistogram Virtuallyalldigitalcamerasthesedayswillhavetheabilityto showa“histogram”ofthepicturejusttaken.Obviously,it’s somethingimportant,butwhatexactlydoesitmean?How canIuseittoimprovethephoto? Whatisit? Originally,ahistogramwasinventedasawaytocountthings. Orrather,awayofrepresen�ngthenumbersofthingswe’ve justcounted.Wecouldtakethecoinsfrommypocketand makeahistogramofthedifferenttypesofcoinIhave,like this. Theheightofeachcolumnrepresentsthenumberofeach typeofcoinIhave.Fascina�ng….Butitdoesn’treallytellus anythinguseful(thankfully–otherwisewouldbecreepy…). Coun�ngallthecoinsofeveryoneintheroommaybemore enlightening. Thelackof2€piecesandthehighnumberof1€pieced probablyindicatespeoplepayingpaid3€togetintothe mee�ng…;-) OrthecoinsinthewholeoftheEurozone!(actualdata, 2011).Thisdistribu�oncanbeveryinteres�ngifyou’rein chargeofrunningamint… Butherewe’retalkingaboutadigitalphotograph,oratleast coun�ngthepixelsinone.Here’sasimpleexampleofan81 pxB&Wimageusing6levelsofgrey,or“brightness”: Andthisisexactlywhatthehistogramyouseeonthebackof yourdigitalcamerais–arepresenta�onofthenumberof pixelsthathaveapar�cularbrightness.Exceptthatthere’sa lotmorepixelstoshowandalotmorelevelsof“bright” (grey),sothecolumnsalljoinuptomakeashape. ByAlunFoster BeginnersGuidetotheHistogram 6

Well,herearesomeexamples,whichonceyouknowthe basicsmaynowseemobvious. Underexposed(toomanypixelsattheblackend): Overexposed(toomanypixelsatthebrightend):

Whatcanittellus?

Taketheseextremecases(high-keyandlow-keyrespec�vely):

However,thisactuallymeans“erringonthesideofoverexposed”,whichmustbedonewithgreatcare. Whenover-exposingthereisalwaystheriskofburned-out areasinthehighlights(whichinmyexperiencearevery difficulttorecover),orincreasedmo�on-blurduetotheneed forlongerexposure�mes.And,youMUSTpost-processall theimagestomakethemusable!

Thelogicbehindthisisthatthedigitalnoise(especiallyin earliercameras)tendstoshowupmoreindarkareasofan image,soifyoustartwithaverybrightimageandthen darkenita�erwardsinpost-processing,the“darkening”

Goldilocks!(justright–anevendistribu�onacrossthe middle):

Withtechnologicaladvances,thelowernoiseathighISO se�ngsinmoderncamerasthesedayshasrenderedtheneed for“shoo�ngtotheright”lessimportant. So,gofor“Shoo�ngto be right”instead–it’sthebestop�on! TheEnd …OftheHystericalMistogram…!

reducesthenoisetoo.

Whendigitalphotographymadeitsmassivesurgeinto commonuse,theexpression“Shoo�ngtotheright”cameup. Basically,theideaistogetasmanypixelsaspossibleinthe “(b)right”sideofthehistogram.

“Shoo�ngtotheright”

Therightandthemayberight… So,thehistogramgivesusafirstmeasureoftheexposureof theimage.Butnotallimagesarethesame!

VentosaandThomasVanoost.Thela�erhadbeenaspeaker duringoneoflastyear’sViewfindersclubmee�ngs. OlivierMühlhoffisexperimen�ngwithdifferenttechniques, hethinksofhimselfasaresearcher:infact,hisfirst professionisasanengineer.Somehowhisphotography reflectshiscuriositytoexperimentandtodevelopvarious techniques.

Photographersinfocus:OlivierMühlhoff 8

O livierMühlhoffisaFrenchphotographerbornin 1961.Icameacrosshimbecauseafriendofmine showedmeapictureofatreeandsaidthatshehad beenapplyingthe‘techniqueofOlivierMühlhoff’.Iquite likedhera�empt,thetechniquedidn’tseemnewtome thoughbecauseitremindedmeofthepicturesofPep

BySabinePosdziech

presentedforthefirst�meinsummer2016.Ayearlater,he exhibitedattheInterna�onalFes�valofMon�erinDerand winsthe1stprizein"Photosofnaturerevisited".Other fes�valssoonfollowed,inbothcontemporaryartand photography.

Onhiswebsiteheisdescribedasfollows: “OlivierMühlhoffgrewupinafamilyofmusicians.Heisby naturecuriousabouteverythingandrathersolitary,andhis parentsgavehiman'Instama�cKodak'attheageof11,the sameashisbigbrother's,soasnottomakeanyonejealous! Hewasthentrainedintheblackandwhitephotolabfrom theageof13.Histeacherwasafanofcrea�vephotography andhepassedonnotonlyhis�psbutaboveallhispassion. AMamiyafamilyreflextookoverandwithhisfirstpaycheck,atage20,heboughthimselfaMinox35GTto con�nuetheadventure.AMinoltaSLRcamelaterto completehiscollec�on.

In2008,heproducedhisfirstmajorpersonalexhibi�on.His successacceleratedwithhispoe�cseries"Arborescences"

Infact,photographydidnotbecomehisfirstprofession.At the�me,hehadaninsa�ablethirstfor“doing”.Taking pictures,butalsorepairingmopeds,makingloudspeakers… Henaturallyturnedtotheengineeringprofessiontosa�sfy hisimpa�enceforunderstanding,butalsoforcrea�ng.His professionallifewasthenveryrichbecausehewasableto haveconsiderablemeansto"invent"thankstotheMichelin company.Acareerasa"researcherwhofinds"thusbegan andforhis30-yearcareer,hewasabletoappreciatethe pathtravelledwithmorethan100patentsfiled. Let'sgobacktophotography:In2000,thearrivalofdigital madehimchangegear:A�erafewthousandBWandthen colourfilmphotos,hewasfinallyabletoworkatthesame paceasanimageprofessionalandspeeduphisresearch work.Thecomputerhasalsoreplacedthechemicalbins, openingotherdoorsforhimtoexpresshisboundless crea�vity.

simultaneously.

Theseries‘Arborescence’wasfirstpublishedin2016.Each pictureiscomposedofaroundtwelveshotstakenfrom slightlydifferentanglesbutwithaprecisedistancefromthe trunktocreateasensa�onofspinning.Mühlhoffusessmall apertures(mostlyf/16)allowamaximumofsharpnesson eachlevel.Compilingthefinalpicturecantakeupto8hours: themostcomplicatedistoreproducetheoriginalcoulours. Theresultsarestunningandtheys�llkeepalinktoreality.

Paradoxes A�erhavingexploredtheoverlayofimages,Olivier Mühlhoff’screa�veresearchevolveswiththisseriesof mirroredrepe��ons. Theprincipleofrepe��onispresentintheworksofMC EscherwhichamazedOlivierMühlhoffinhisyouth.Hewas inspiredbyEschertocreatethisseriesofimprobablescenes createdaroundcharacters.Thegraphicrepe��onsandthe extremegeometryofthescenesreassureanddisturb Youcanfindmoreseriesat h�ps://muhlhoff.por�oliobox.net/ home 9

Arborescence ‘Arborescence’isasetofpicturesoftreesresul�ngofa combina�onoflongexposureshotsandoverlayofimages.

Theideawherethisseriesisbaseduponisthatyouimagine yourselftravellingbytrainandlookingoutofthewindow.You seetreesquicklypassingby.Whatdoyourememberfrom thesetrees?Themomentwasjusttooshorttoobserveitin detailbutinyourmindyouarereconstruc�ngtheimage again.Thememoryofthistreewon’tbethesamea�er30 secondsora�eronehour.OlivierMühlhoffistryingto captureandmaterialisewhatwasperceivedinarealpicture.

Theresultsarepoe�cimagesremindingofimpressionism painters,imageswherethetreesseemtobedancingina well-definedchoreography.

Withhis“Arborescences”,hehasbeencrea�nggiant exhibi�onssincethebeginningof2019,presen�ngformatsof 2x3mand4mwide.Foreachexhibi�on,herecreateswithhis imagesa‘park’wherevisitorscanstrollinthemiddleof imaginaryandpoe�ctrees.”

MyinterestinphotographybeganatschoolwhenI enrolledatPlymouth’sCollegeofArt&Designto followaphotographyclassonSaturdays.The wintertermwasspentontheoryandB&Wdarkroom techniquestogetherwithstudioworkons�lllife(5x4inch platecameras)andportraits(rollfilmRolleiflexes).Asspring approached,weweresentoutwith35mmSLRs.Always manualfocusandmanualexposureaidedbyourtrusty WestonIVhandheldlightmeters. MyB&Wadventuresendedin1982whenIwastransferred toBelgium.MyZenithSLRwasreplacedbyaPentaxME Superandamoveto35mmslideswhichcombinedwith drivingholidaysinScandinaviaandtheUSprovidedarich subjectma�er.However,cominghomewithmanyrollsof exposedfilmandwai�ngfortheslidestobereturnedwas hardlyinterac�ve.Viewingonahandheldslidevieweroran eveninginadarkenedroominwinterwithaprojectorand screen(soundslikeaViewfindersclubmee�ng)wasmuch lesssa�sfying. Therealitywasthatmywife’sprintsfromapointandshoot 35mmcameraweretheonespassedaroundandslowlymy interestwaslost. MovingtoBaselin2002,myjobinvolvedtravellingtoTokyo fortwoweeksamonthduringseveralyears.Japanesepricing washardtoresistandIstartedagainwithaCanonEOS7 featuringfocussingzoneswhichcoulddetectthemovement ofyoureye.Thencameaseriesofdigitalcameraswhich togetherwiththeinteres�ngsubjectsfoundinJapanand vaca�onsinsouth-eastAsiawhichrekindledmyinterestin photography.SimilarassignmentsinNewJerseyandPeru werealsoinspiring,butsafetyissuesinSaoPaoloand Mumbaiweremorerestric�ve.

10 MeetAlanWaldern

Thepast7or8yearshavenotbeensoproduc�ve–the adagethatthebestcameraistheoneyouhavewithyouhas sometruthandaniPhoneisalwayswithme.Imovedbackto Brussels4yearsagotore�reanddiscoveredViewfinders18 monthsagoduringlockdown.Mynextchallengeistomaster post-processingwhichIthinkwillinvolvearealinvestmentin �me.Mygoalistobeabletophysicallyholda�rac�veprints againasthisiswhereanimagebecomesaphotographtome

PassingthroughtheGraffi�StreettovisittheFridaymarket (ac�ve)andthe“DulleGriet”cannon(thankfully,inac�ve), ourthoughtsturnedtofood–anearlydinnermeantwe wouldbeabletocapturebluehouratsomeotherscenic partsoftown.Despiteusbeing9,wewereabletogetatable “onspec”(whenallpriora�emptstobookhadfaileddueto everywherebeingfull),soa�erabriskwalkthroughthe charming“Patershol”areaandaroundtheoutsideofthe famousCount’sCastle,weallgotourkneesunderatablefor averyenjoyablemeal. Post-dinnerperambula�ontookustothefamousGentpostofficebuilding(nowashoppingcentreinside),withblue hourannouncingourarrivalatthepicturesque“graslei”for someoftheclassicviewsofGent.Ashortstopforabeer closedaveryenjoyablephototrip–forwhichaverybig thankstoEduardoforhisplanningandguiding!-Alun. 1.KarinaRobin2.AnneChris�neBrouwers3.EduardoTardaguila

12 3 11 ViewfinderstriptoGhent

WhileBruggeisfamousforitsrenaissancerefinement,Ghent israthermorerugged,almostmedievalinanintriguingsort ofway.Nextstop,thecastleofGeeraardvanGent,for reasonsweshallonlyguessatalsocalled“Geeraardthe devil”(Eeek!),thoughtheknightinques�onneveractually livedthere.S�ll,impressive.

Eduardo’sfurtherroutetookuspastthesturdyoldbuildings thatformthecentre–thecathedral,the“Belfort”(literally, belfry,andthehomeofagoldendragonthatgavehisname toawellknowlocalbeer…)andtheSintNiklaaskerk. Cuddlinguptothesenobleedificesisthenew“stadshal”–a coveredsquarewithnooutsidewalls,ali�lelikeamarket.

Theweathergodswerepleasedthedaywewenttovisit Ghent.Aslightdelayinarrivalwasn’treallyno�ced–thereiss�llmorethanenoughtochatabout!Eduardo hadchosenaroutethattookuspastseveralofthecity’s maina�rac�ons,givinggreatopportuni�esforarchitecture, street-photographyandevencapturingthestreetartina speciallydedicatedalleyway.Therewassomethingfor everyone! IhaveknownGentformanyyears,thoughhavenotvisited thecentrealotrecently.Onecompletesurpriseformewas thenewlibrary“DeKrook”.Seeminglybuiltfrominterlocking steelframesthathavebeenstretchedheavenward,itoffered somepoten�allymagnificentperspec�veshotsfromthe emptysquareinfrontofit…un�lthefirebrigadearrived andfilledthesquarewithbrightlycolouredvehicles.Nothing sinister–seemstheywereonatrainingrun,butamusingto watchascompensa�onforthemissedopportunity.

Allnicelyphotogenic.

Exhibi�on STAL–vernacularanimalsheds,ServaasVanBelle FotoKnokke-Heist 26March–12June2022 ThefirstbookbyBelgianphotographerServaasVan Belle,isamonographicreferenceworkthatheworked onforyears.Hewentinsearchofthemostimagina�ve stallsinallcornersofBelgiumandthenconsistently photographedthemunderthesameidealligh�ng condi�ons.AndidealforVanBellemeans:densefog. HisworkisnowexhibitedinKnokke-Heist. Website Exhibi�on Wildlifephotographeroftheyear TheMuseumatSouthKensington,London un�l5June2022 100powerfulphotographsthattellthestoryofaplanet underpressure. Gazethroughthelensofsomeoftheworld'sbest wildlifephotographersandmarvelatthebeautyofour planet.DisplayedalongsideinsightsfromMuseum scien�stsandexperts,theimageswillinspireand astound,leavingvisitorswithadeeperunderstandingof theissuesfacingnatureandtheac�onsweneedtotake toprotectit. Website 12 WHAT’SUP?May-June2022

ApertureConversa�ons:JoelMeyerowitzon58Yearsof MakingPhotographs (YouTube,59mins) Watchaspecialconversa�onwithphotographerJoel MeyerowitzandChrisRyan,founderofMastersof Photography. Meyerowitz’sstreetphotographyspansdecades, documen�ngtheUS’sever-changingsociallandscape. ©RichardSylvester,fromtheUrbanLifeChallenge FormorefromtheUrbanLifechallenge, seethefollowingpages. 9 DISCOVERY

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