F CUS APRIL 2022
SHARING VISUAL ART
02 - APRIL 2022 COVER STORY BY CHRIS JOUBERT
The photos I took of Hein were from our first trip to Namibia – always a smile and a joke and a fantastic sense of humour. There was never a dull quiet moment when he was around. We will miss him dearly and will cherish the memories of our time together. Rest in Peace dear friend
CONTRIBUTE TO FUTURE ISSUES ANY MEMBER CAN SUBMIT MATERIAL FOR CONSIDERATION IN FUTURE PUBLICATIONS PLEASE MAKE SURE THAT IMAGES HAVE A MINIMUM RESOLUTION OF 1080 x 1925 pixels. Of course, we also have to adhere to the regulations for data protection and the rights of use according to the copyright law, therefore, we ask you to supply a declaration of consent of the person or website that you extracted your submission from. Please use the following email address to send contributions and consent letters hanlis54@gmail.com Proof reading of this magazine Kindly done by Clare Appleyard
EDENVALE PHOTOGRAPHIC CLUB IS A PROUD MEMBER OF THE PHOTOGRAPHIC SOCIETY OF SOUTH AFRICA
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DEAR MEMBERS Those who touch our lives stay in our hearts forever, Hein Wascherfort is one of those very special individuals. The PSSA and the photographic community will be a much poorer place without Hein, our Mentor, Tutor and Friend. Sadly we had to say farewell this week to Hein after his more than 2 year battle with cancer. Although I am starting on a sad note Hein would have been very impressed with Edenvale Photographic Club on Saturday. I am very proud to be part of this club and all the selfless members that helped and planned the model shoot at Cecil’s house. Cecil and his wife opened their home to us and the members did not dissapoint and arrived in large numbers. Thank you to all our members for making it a great success. The club is growing and we will keep on trying to offer workshops and outings to cover most genres. Our Salon was a success and the results will be out soon. Thank you for the support there as well. Don’t be dissappointed if you did not make it, keep on trying it’s the only way we all learn. Our Live meetings are going well and the committee, especially Andrew and Dave put a lot of effort into carting equipment to and from the venue, so supporting our live meetings in person is the right thing to do. See you all at our next meeting. Hanli Smit Editor & Chairperson
Hanli
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Committee Members
BI-MONTHLY MEETINGS ARE CURRENTLY taking place at the Modderfontein Golf Course and we are also live streaming it via Zoom for our out of town and country members
David Wolstencroft 083 229 8066 davewol@gmail.com
Kenith Kubheka 082 671 8336
Linda Carter 083 324 0702 linda@m-d-s.co.za
Andrew Mayes 083 417 2194 mayes.andy.1980@gmail.com
royal.kubheka@gmail.com
Hanli Smit 083 253 1034 hanlis54@gmail.com
Clare Appleyard 083 234 0247 clare.appleyard@gmail.com
MEETING TIME AND PLACE 2ND AND 4TH WEDNESDAY OF THE MONTH AT 18H30 FOR 19H00 MODDERFONTEIN GOLF COURSE
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IN THIS ISSUE Page 6 Page 14
HISTORY OF PHOTOGRAPHY- “ ANDRE KERTESZ”
13 APRIL 2022- CLUB NIGHT WINNERS
Page 25
27 APRIL 2022- CLUB NIGHT WINNERS
Page 39
THE ART OF CONCEPTUAL PORTRAITS
Page 42
TRIBUTE TO HEIN WASCHEFORT
Page 49
MODEL SHOOT
06 - APRIL 2022
Source: Wikipedia
HISTORY OF PHOTOGRAPHY
ANDRE KERTESZ Post - Photo - Impressionism
Post Pictorialism in photography was a good mixture of impressionism and expressionism influenced by the personality of the photographer. André Kertész 2 July 1894 – 28 September 1985), born Andor Kertész, was a Hunga rian-born photographer known for his groundbreaking contributions to photographic composition and the photo essay. In the early years of his career, his then-unor thodox camera angles and style prevented his work from gaining wider recognition. Kertész never felt that he had gained the worldwide recognition he deserved.
Today he is considered one of the seminal figures of photojournalism. Expected by his family to work as a stockbroker, Kertész pursued photo graphy independently as an autodidact, and his early work was published primarily in magazines, a major market in those years. This continued until much later in his life, when Kertész stopped accepting commissions. He served briefly in World War I and moved to Paris in 1925, then the artistic capital of the world, against the wishes of his family. In Paris he worked for France’s first illustrated magazine called VU. Involved with many young immigrant artists and the Dada movement, he achieved critical and commercial success. Due to German persecution of the Jews and the threat of World War II, Kertész decided to emigrate to the United States in 1936, where he had to rebuild his reputation through commissioned work. In the 1940s and 1950s, he stopped working for magazines and began to achieve greater international success. His career is generally divided into four periods, based on where he was working and his work was most prominently known. They are called the Hungarian period, the French period, the American period and, toward the end of his life, the International period.
Andor Kertész was born on 2 July 1894 in Budapest to the middle-class Jewish family of Lipót Kertész, a bookseller, and his wife, Ernesztin Hoffmann. Andor, known as “Bandi” to his friends, was the middle child of three sons, including Imre and Jen. When Lipót died in 1908 from tuberculosis, the widowed Ernesztin was without a source of income to support their three children. Ernesztin’s brother, Lipót Hoffmann, provided for the family and acted much like a father to the boys. The family soon moved to Hoffman’s country property in Szigetbecse. Kertész grew up in a leisurely pace of life and pastoral setting that would shape his later career path. Hoffman paid for his middle nephew’s business classes at the Academy of Commerce until his 1912 graduation and arranged his hiring by the stock exchange soon after. Unlike his older brother Imre, who worked at the exchange in Budapest for all his life, Kertész had little interest in the field. He was drawn to illustrated magazines and to activities like fishing and swimming in the Danube River near his uncle’s property.
APRIL 2022 - 07 Kertész’s first encounters with magazine photography inspired him to learn photography. He was also influenced by certain paintings by Lajos Tihanyi and Gyula Zilzer, as well as by poetry.....Hungarian period
After earning enough money, Kertész quickly bought his first camera (an ICA box camera) in 1912,despite his family’s protests to continue his career in business. In his free time, he photographed the local peasants, gypsies, and landscape of the surrounding Hungarian Plains (the puszta). His first photograph is believed to be Sleeping Boy, Budapest, 1912. His photographs were first published in 1917 in the magazine Érdekes Újság, during World War I, while Kertész was serving in the Austro-Hungarian army. As early as 1914 (for example, Eugene, 1914), his distinctive and mature style was already evident. In 1914, at the age of 20, he was sent to the frontline, where he took photographs of life in the trenches with a lightweight camera (a Goerz Tenax).Most of these photographs were destroyed during the violence of the Hungarian Revolution of 1919. Wounded in 1915 by a bullet, Kertész suffered temporary paralysis of his left arm. He was sent for convalescence to a military hospital in Budapest, but was later transferred to Esztergom, where he continued to take photographs. These included a self-portrait for a competition in the magazine Borsszem Jankó. His most famous piece of this period was Underwater Swimmer, Esztergom, 1917, the only surviving work of a series of a swimmer whose image is distorted by the water. Kertész explored the subject more thoroughly in his series of “Distortions” photographs during the early 1930s.Kertész did not heal soon enough to return to combat, and with peace in 1918, he returned to the stock exchange.There he met his future wife Erzsebet Salomon (later changed to Elizabeth Saly, also spelled Sali), who also worked at the exchange. He began to pursue her romantically. During this period of work and throughout his whole career, he used Elizabeth as a model for his photographs Kertész also took numerous photographs of his brother Jen. Kertész left his career at the exchange to try agricultural work and beekeeping during the early 1920s. This venture was brief given the political turmoil that accompanied the revolution and coming of communism.
08 - APRIL 2022 After returning to the stock exchange, Kertész decided to emigrate, to study at one of France’s photographic schools. His mother dissuaded him, and he did not emigrate for several years. Working during the day at the exchange, he pursued photography the rest of the time. In 1923, the Hungarian Amateur Photographer’s Association selected one of his photographs for its silver award, on the condition that he print it by the bromoil process. Kertész disliked this, so turned down the medal. Instead, he was given a diploma from the association.On its 26 June 1925, the Hungarian news magazine Érdekes Újság used one of his photographs for its cover, giving him widespread publicity. By that time, Kertész was determined to photograph the sights in Paris and join its artistic culture. The Fork, or La Fourchette, was taken in 1928 and is one of Kertész’s most famous works from this period. Kertész emigrated to Paris in September 1925, leaving behind his mother, his unofficial fiancée Elizabeth, both brothers, and his uncle Hoffman, who died shortly afterward. Jen later emigrated to Argentina. Elizabeth Kertész remained until her future husband was well enough established in Paris that they could marry. Kertész was among numerous Hungarian artists who emigrated during these decades, including François Kollar, Robert Capa, Emeric Fehér, Brassaï, and Julia Bathory. Man Ray, Germaine Krull and Lucien Aigner also emigrated to Paris during this period. Initially Kertész took on commissioned work for several European magazines, gaining publication of his work in Germany, France, Italy and Great Britain.
APRIL 2022 - 09 Soon after arriving in Paris, Kertész changed his first name to André, which he kept for the rest of his life. In Paris he found critical and commercial success. In 1927 Kertész was the first photographer to have a one-man exhibition; Jan Slivinsky presented 30 of his photographs at the “Sacre du Printemps Gallery”.Kertész had become connected with members of the growing Dada movement. Paul Dermée dubbed him “Brother Seer” and “Brother Seeing Eye” during his first solo exhibit, alluding to a medieval monastery where all the monks were blind bar one. Over the next years, Kertész was featured in both solo exhibits and group shows. In 1932 at the Julien Levy Gallery in New York, the price of Kertész’s proofs was set at US$20 ($ 397 in 2022), a large sum of money during the Great Depression.Kertész and other Hungarian artists formed a synergistic circle; he was featured in exhibits with some of them later in his life. Visiting his sculptor friends, he was fascinated by the Cubism movement. He created photo portraits of painters Piet Mondrianand Marc Chagall, the writer Colette,and film-maker Sergei Eisenstein. In 1928, Kertész switched from using plate-glass cameras to a Leica. This period of work was one of his most productive; he was photographing daily, with work divided between magazine commissions through the late 1920s and his personal pieces. In 1930, at the Exposition Coloniale in Paris, Kertész was awarded a silver medal for services to photography.Kertész was published in French magazines such as Vu and Art et Médecine, for which his work was used for numerous covers. His greatest journalistic collaboration was with Lucien Vogel, the French editor and publisher of Vu. Vogel published his work as photo essays, letting Kertész report on various subjects through images. The photographer was intrigued with the variety of topics assigned by Vogel.
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Special Subject themes for 2022 We are very happy with the themes suggested and voted for by our members. The general idea of the set subject is to get us out of our comfort zone. It is not meant to be the place where we recycle our old images, although we are all guilty of just that. This year we want to ask you all to shoot for the theme, or if you do altered reality create for the theme..new images. If you use images older than November 2021 they are not eligable. Please make new images!!! Take another look at the talk done by Alta Oosthuzen on shooting for set subjects. Click on the link below https://drive.google.com/file/d/1WnMw6VtYrqnHbfot1BgsWwrwMB4bg4HG/view?usp=sharing
25 May ...Glass 22 June ...Flat Lay 27 July...Levitation 24 August ...The road to nowhere 28 September...Speed 26 October...The power of nature 23 November ...Music
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ONE STAR NATURE WINNER 13 April 2022
Juvenile Pear Spotted Owl John Hosking
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ONE STAR PICTORIAL WINNER 13 April 2022
Cattle Egret What now
Peter Fine Brian Abrahams
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TWO STAR NATURE WINNER 13 April 2022
Vulture wanna-be Peter Fine
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TWO STAR PICTORIAL WINNER 13 April 2022
Senorita
Fabiola Grant
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THREE STAR NATURE WINNER 13 April 2022
African Open bill in flight Gavin
Duffy
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THREE STAR PICTORIAL WINNER 13 April 2022
Drifting side ways in the water Kenneth Kubheka
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FOUR STAR NATURE WINNER 13 April 2022
Stop shouting at me
Des Alexander
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FOUR STAR PICTORIAL WINNER 13 April 2022
Fish Monger
Stephen
Kangisser
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5* & 5 Star Honours NATURE WINNER 13 April 2022
Egret just landed Trevor Tyler
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5* & 5 Star Honours PICTORIAL WINNER 13 April 2022
Fly-by 657AM
Ted Kinsman
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5* & 5 Star Honours CELLPHONE 13 April 2022
Temple Entrance
Vadivelu TT
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ONE STAR CELLPHONE WINNER 27 April 2022
Fireflies
Melinda Smith
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ONE STAR NATURE WINNER 27 April 2022
UitKak Parade
Brian Shaw
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ONE STAR PICTORIAL WINNER 27 April 2022
Alone
Brian Abrahams
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TWO STAR NATURE WINNER 27 April 2022
Pollen Harvesting Peter Fine
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TWO STAR PICTORIAL WINNER 27 April 2022
Team Work
Tahlita Verster
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THREE STAR NATURE WINNER 27 April 2022
Yellow billed Oxpecker take off Gavin
Duffy
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THREE STAR PICTORIAL WINNER 27 April 2022
Jacobite Steam Train Gavin
Duffy
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THREE STAR CELLPHONE WINNER 27 April 2022
Rainbowed waterfall Caryn Wilson
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FOUR STAR NATURE WINNER 27 April 2022
Classic pose
Des Alexander
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FOUR STAR PICTORIAL WINNER 27 April 2022
Hollard
Lilly Harmse
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5* & 5 Star Honours Cellphone WINNER 27 April 2022
Temple Corridor 1046 Vadivelu TT
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5* & 5 Star Honours NATURE WINNER 27 April 2022
Karoo springbok
Adrian Style
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5* & 5 Star Honours PICTORIAL WINNER 27 April 2022
Trepidation
Hanli Smit
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SET SUBJECT WINNER
27 April 2022
One moment in time
Laetitia Kenny
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THE ART OF CONCEPTUAL PORTRAITS Originally published in the April 2022 issue of Shutter Magazine Recently On Behind the Shutter The Art of Conceptual Portraits with Jess Hess Conceptual Portraits have been important to humans for as long as anyone can remember, starting with cave drawings, etchings and sculptures, then moving on to paintings and eventually numerous types of early-stage photography. Photographs these days can be important for all sorts of reasons, but long ago the largest reason to have a portrait was to remember or immortalize a person of significance. A person of significance back then would have been the leaders, healers, heroes of a community. Effigies were created for these people so their likeness could be captured and saved for all time. As the years moved on and portraiture evolved, “people of significance” became your families, your local business owners, etc. People started having paintings done of themselves and their families. They started having multiple portraits done showing their various homes or hobbies or loves. These days, a portrait doesn’t have to be so serious, nor does it have to be important to a person to be captured.
It’s perfectly commonplace these days to take 30 photos of your new haircut only to post one, or to take a bunch of photos of your cat licking your face, solely because “Biscuits looked so cute!” Portraits today are so easy to take that they don’t need to have a reason to be taken, other than simply wanting to take them. This allows us as individuals to get super creative. Without needing a reason to create and without needing a foundation for something to be allowed to exist, we started turning portraits into something that was fun. We started doing our makeup, getting dressed up, putting on wigs and capturing ourselves as these alter egos. We started becoming these characters that we were making up in our own heads and portrayed those characters by dressing up and taking photos.So, what are conceptual portraits? What is the difference between them and traditional portraits and typical conceptual photos? Normal portraits portray a person as themselves, whereas conceptual portraits portray a character that the person is playing, or an inner part of themselves that they are bringing out. Classic portraits are very “what you see is what you get,” very surface level in terms of theme. A traditional portrait says, “This is me; this is who I am and what I look like.“ A conceptual portrait, however, says something different. It might say, “This is how I feel” or “This is who I want to be.”
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Typical conceptual photographs portray a concept or theme but aren’t entirely focused on the relation to that concept from the subject. I like to think of conceptual portraiture as something that tells a part of a story, focusing only on the subject, and that the story is secondary to that subject. So the theme or idea is there, but you’re really just seeing a character in that story rather than the whole story itself. As an example of this, picture a photo of Rapunzel in a tall tower, with her suitor climbing her hair. That would be a conceptual photo, for sure. Now take that idea and only show Rapunzel sitting on her floor, posed gracefully in a bed of hair and flowers. That isn’t telling a story, but it is showing the character in a story and would be considered a conceptual portrait more so than just a conceptual photograph. It isn’t a conceptual photo showing the tale of Rapunzel being saved, it is rather just a portrait of her, this imaginary character, as she is.
Examples of conceptual photography
Examples of conceptual photography
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This is a Tribute to our very own Master Photographer and Conceptual Artist
Hein Waschefort FPSSA(Dux),MPSSA 22 February 1956 - 25 April 2022 PSSA Director
Many of our Senior members have done a course or a workshop with dear Hein sometime in our lifes. I always said that Hein was a walking talking art encyclopedia. His knowledge about art and photography had no bounds. Hein wrote and published a few books as well, my most favorite is “Creative Photography Guide”, where he draw the comparison between the history of art and the history of photography. In my quest to find some of his work to share with you all I went back on his FB page. Hein got sick in September 2020 and the artwork he created since then is awe inspiring. The man was an artistic genius. The emotion and the pain as well as the sheer genius can be seen in all his work
“A strange world I am living in-Where do I come from? Where am I going “ Hein Wascherfort
Hein wrote this conclusion about his artwork above: From the earth with roots as a medium entering the spine and the circle of life ends at top of the spine releasing a new life with perhaps another spine
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Tribute by Chris and Muriel
These lovely images of Hein were taken by Chris Joubert during the VSS Namibia trip in 2018 We first met Hein and Christine at a Botshabelo weekend shoot that they had arranged in September 2017. We immediately became very good friends and started chatting about Namibia and all the trips they had arranged over the years. We asked them to please put our name at the top of the list if they ever decided to go again. A year later we were on the long road to Namibia with Hein and Christine and a wonderful group of photographers. What an experience, what a trip and for us the most memorable of the two trips we did with them. The second included Botswana. In this short time that we knew Hein, it was clear that he would share all his knowledge with everyone around him and would not hold back. He always made sure everyone managed to get a great photo and gave advice and tips along the way. On the trips we spent most evenings around the camp fire , enjoying Christine’s meals and sharing stories until late at night. The photos I took of Hein were from our first trip to Namibia – always a smile and a joke and a fantastic sense of humour. There was never a dull quiet moment when he was around. We will miss him dearly and will cherish the memories of our time together. Rest in Peace dear friend Chris & Muriel Joubert
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Here is a collection of Hein’s Art from his website and FB page
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Thank you Hein for sharing your beautiful artwork with us, Thank you for so selflessly giving away your knowledge in the Image Magazine over so many years. We are going to miss you dearly.
APRIL 2022 - 47 Tribute by Laetitia Kenny My husband, Mike, called Hein a man for all seasons because he was equally comfortable and confident and competent in so many areas of life. Whether it was whipping up recipes for delicious meals to be served to family or friends, (these were always first photographed to be include in the latest edition of his recipe book) or doing makeup on a model for a workshop, often in uniquely creative avante garde styles, which allowed his workshop attendees to create unique images. Hein was an extremely competent lecturer and often told the very interesting and informative, behind-the-scenes stories of famous artists of photographers. His knowledge of fine art was astounding and one could ask him just about any question and he would be quick with an answer. I was privileged enough to edit and proof read two of the many books he wrote and which were ultimately published. The editing process always took a long time because I was often so caught up by the incredibly interesting information and the wealth of knowledge that these books contained. I would find myself reading with absolute fascination and then have to go back to do the edit. I met Hein in the late nineties at a PSSA Congress and was immediately drawn to his creative genius, his outspoken personality and his conceptual images. As time passed our two families became close friends and we shared many evenings at a dinner table or around a camp fire. I’ll never forget the awful jokes he told that had us screaming with laughter just because they were so ridiculous! My husband and I joined two of the road trips that Hein organized, (with many modifications and last-minute adjustments along the way). We first toured Namibia and the following year Namibia and Botswana. Hein was a phenomenal guide who did everything possible to create amazing photographic opportunities. He even went as far as taking two models on one of our tours so that there was an extra element in our images. I am so grateful that I shared these amazing experiences. Hein was an incredibly giving human and shared his photographic knowledge freely and without reservation. He was one of very few photographers who was not threatened by competition and did not feel the need to withhold information to “give him the edge” He encouraged his students, both beginners and advanced photographers, with his positive but honest and constructive comments. I am sure that there are many of us that can say with absolute honesty that Hein helped and encouraged us to take our work to the next level. A perfect example of his desire to grow creative photography in South Africa was the creation of the Creative Virtual Camera Club group on Facebook in 2012. This group allowed members from all over the world, to post freely and without reservation as unkind criticism was frowned upon. True to Hein’s personality this was a NO RULES platform! The group currently has 3300 members and I have noticed that people are still posting despite Hein’s passing. There was a monthly Top 10 in a number of genres and Hein published two beautiful coffee table books of all the Top 10 entries in 2018 and 2019. Despite Hein’s many local and international awards he remained very humble. Among his many achievements was Photographer of the year 2019 in Africa Photographic Awards. He recently gained recognition in China for his project 60 Days of Lockdown. He has exhibited in China and Europe and many of his works have sold at local exhibitions. Hein contributed to the PSSA for a number of decades. He was editor of Image magazine at the time of his passing. He served on the board for a number of years, was an honours judge, hosted numerous salons and ultimately created a camera club PCCC (Photo Challenge Camera Club) just to name a few. He had FPSSA honours in all genres and held an MPSSA. My life was truly enriched by my friendship with this incredible man. Rest in peace my friend. Laetitia Kenny
Image on the right, Christine Waschefort Lockdown day 33 photo 33 “In The News: We are fighting a war, yet again” Artwork on wall (decolage set) photos 1979 border war taken by me and used for retrospective exhibition 2014. Hein WaschefortThis is such a collective of my life it almost hurts to post.
Above: Mike and Tish Kenny Photo by Hein Waschefort
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Closing dates for upcoming Salons 2022 find the information brochures on the PSSA website 2022-07-02 Witzenberg Photographic Society 2nd PDI & Pint Salon 2022 2022-07-16 Kosmos National PDI Salon 2022-07-30 Bloemfontein National Digital Salon 2022-08-13 PPS National PDI Salon 2022-08-27 7th Bosveld Fotografieklub Salon 2022-09-10 Krugersdorp Camera Club 17th National Digital Salon 2022-09-17 Amber Camera Club 2nd National Digital & AV Salon 2022-10-01 9th Swartland Salon 2021 2022-10-15 Kroonstad Fotoklub 65th Jubilee PDI Salon 2022-10-22 PSSA 22nd Up and Coming Competition 2022-10-29 International “Glass” theme AV Salon for 2022 2022-11-05 Tygerberg Photographic Society Salon 2022 2022-11-09 Danube Autumn Circuit 2022 (Edenvale Photographic Club) 2022-11-12 7th Centurion Camera Club Digital Salon
2022-11-19 2nd SANParks Honorary Rangers: Free State Region Nature Only PDI Salon
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Model Shoot 7th of May Big Thank you to Cecil for letting us use his lovely home and garden to do our model shoot. Thank you Clare, Linda and Laetitia for assisting me with the planning and excecution of the day. I very big THANK YOU to our senior members that assisted with the groups, Stephen Kangisser, Heidi Broschk, Laetitia and Clare!!! We are eagerly awaiting to seeing the results.
Clare is leading the way here and Antoinette is showing the models what to do. As you can see we also had excellent weather.