Edenvale Newsletter August 2019

FOCUS

Sharing Visual Art

August 2019

The Official Digital Newsletter for Edenvale Photographic Club 2018 -CERPS -Winners

Proud Member of the Photographic Society of South Africa www.pssa.co.za

CONTENTS: Page

3

Chairman’s Chat

Page

4

Winning Images 14 August2019

Page

11

Winning Images 28 August 2019

Page 16

Past Masters of Photography Emil Otto Hoppe

Page 20 Page 21

Submission Procedure for Club evening entries Member Focus Linda Carter

Page 22

Fine Art Photography

Page 30

Edenvale Club Outing

By Ted Kinsman

Page 31

Cover Story by Linda Carter

Page 31

Special Subject winner Valerie Sampson

MEETING TIME AND PLACE 2nd and 4th Wednesday of the month 18h30 for 19h00

EDENVALE COMMUNITY CENTRE Cor. Van Riebeeck & 2nd Street Edenvale

Committee Members Chairman: David Wolstencroft 083 229 8066 davewol@gmail.com

Vice Chairperson: Scoring & Promotions

Heidi Broschk 079 886 8515 heidib@uj.ac.za

Treasurer: Ted Kinsman

083 461 2350 tkinsman@global.co.za

Marketing: Natasha Bird 082 920 8898

mnktrad@mweb.co.za

Salons, Judges and Outings: John Coumbias

079 1732 825 jcoumbias@telkomsa.net

Certificates & Awards Des Alexander

083 226 1452 neoncomp@webmail.co.za

New Members, Social Media & Website Clare Appleyard 083 234 0247

Newsletter & SocialMedia: Hanli Smit

083 253 1034 hanlis54@gmail.com

Chairman’s Chat Belonging to a club is much like having a partner.

You have a lot of truly memorable good times, times that stay with you forever, times you really enjoy and experiences that can and do change your life. You get along splendidly, life is great, and you complete each other. You enjoy each other’s company and it is even better with friends.

There are also the times that do not go as planned. Disappointments, disagreements and things that catch you totally off guard and unprepared. Things go wrong. You don’t get that compliment you were expecting, even after all those hours you spent preparing. You perfected a look for the occasion and got shot down in flames because you weren’t understood.

Yes, it can be hard. Just as every person is not the right person for another person, so every club is not the right club for everyone. You know what works for you, where you are happy and where you are comfortable. Sometimes it’s not scientific; you just know, as in a quote from the first Matrix movie “no one can tell you you’re in love, you just know it”.

This probably explains why some people don’t stay at clubs. It is not a good fit. Partners split for much the same reason. Something is not being fulfilled or missing that is essential to making it work. Some partners can change, and I am hoping clubs can do the same. If clubs become better, stronger and offer more, if members are happy, content and understood, if clubs listen, adapt and change to what is needed, surely this would go a long way to making the relationship last.

I would like to venture and say that EPC is becoming that partner. Through open communication, a willingness to listen to each other, to adapt to changing needs and above all, understand one another, we will all contribute towards making the club the best it can be; a loyal partner and a partner that we all look forward to spending time with.

You are all awesome members and EPC would not be the same without any of you. Thank you for being who you are and for being members of EPC. Shoot on. Live long and photograph.

ve Da

1 Star Winners

14 Aug 2019

NATURE Lightning Fast Stephen Kangisser

PICTORIAL Moody Blues Linda Carter

2 Star Winners

14 Aug 2019

NATURE Black heron Guto

PICTORIAL The Last Performance Atholene Liebenberg

3 Star Winners

14 Aug 2019

NATURE Its a misty morning_ Kenneth Kubheka

PICTORIAL And Now !!!

Brian Kleinwort

4 Star Winners

NATURE Painted Skies at Bloubergstrand Clare Appleyard

PICTORIAL Man at the end of the train shed Clare Appleyard

14 Aug 2019

5

and 6 Star Winners

NATURE Namibian Feral Horse Natasha Bird

PICTORIAL Ice Queen portrait in blue Hanli Smit

14 Aug 2019

Digital Prolab

Large Format Printing Print on Canvas Passport, ID, Visa, Drivers Photo Scan and Restore Old Photos your t e G

ages m i ful i t u a be vas n a c art onto

For personal attention and professional service phone - Rob Ponte 011 455 1243 email: robponte@neomail.co.za

The Photo & Digital Prolab 14 Grobler Rylaan (off Riley Road) Bedfordview

1 Star Winners

28 Aug 2019

Nature A Hairy Mouth Linda Carter

Pictorial Book Worm Stephen Kangisser

2 Star Winners

28 Aug 2019

NATURE Barn Owl Tony Wilson

PICTORIAL Too young for war Atholene Liebenberg

3 Star Winners

NATURE Falcon Portrait Bianca Holburn

PICTORIAL Railway Shed Brian Kleinwort

28 Aug 2019

4 Star Winners

28 Aug 2019

NATURE Views of Table Mountain Clare Appleyard

PICTORIAL Over my shoulder Valerie Sampson

5 and 6 Star Winners

NATURE Coot in morning light Natasha Bird

PICTORIAL Steamy Heritage Jorge Borralho

28 Aug 2019

Past Masters of Photography

E. O. Hoppé

Emil Otto Hoppé (14 April 1878 – 9 December 1972) was a German-born British portrait, travel, and topographic photographer active between 1907 and 1945. Born to a wealthy family in Munich, he moved to London in 1900 to train as a financier, but took up photography and rapidly achieved great success.

He was the only son of a prominent banker, and was educated in the finest schools of Munich, Paris and Vienna. Upon leaving school he served apprenticeships in German banks for ten years, before accepting a position with the Shanghai Banking Corporation. He never arrived in China. The first leg of his journey took him to England where he met an old school friend. Hoppé married his old school friend’s sister, Marion Bliersbach, and stayed in London.

While working for the Deutsche Bank, he became increasingly enamored with photography, and, in 1907, jettisoned his commercial career and opened a portrait studio. Within a few years, E.O. Hoppé was the undisputed leader of pictorial portraiture in Europe. To say that someone has a “household name” has become a cliché, yet in Hoppé’s case the phrase is apt. Rarely in the history of the medium has a photographer been so famous in his own lifetime among the general public. He was as famous as his sitters. It is difficult to think of a prominent name in the fields of politics, art, literature, and the theatre who did not pose for his camera.”

From Wikipedia,

the free encyclopedia Although Hoppé was one of the most important photographic artists of his era and highly celebrated in his time, in 1954, at the age of 76, he sold his body of photographic work to a commercial London picture archive, the Mansell Collection. In the collection, the work was filed by subject in with millions of other stock pictures and no longer accessible by author. Almost all of Hoppé’s photographic work—that which gained him the reputation as Britain’s most influential international photographer between 1907 and 1939—was accidentally obscured from photohistorians and from photo-history itself. It remained in the collection for over thirty years after Hoppé’s death, and was not fully accessible to the public until the collection closed down and was acquired by new owners in the United States.

In 1994 photographic art curator Graham Howe retrieved Hoppé’s photographic work from the picture library and rejoined it with the Hoppé family archive of photographs and biographical documents. This was the first time since 1954 that the complete E.O. Hoppé Collection was gathered together. Many years were spent in cataloguing, conservation, and research of the recovered work.

Emil Otto Hoppe

Some more Iconic Images from the lens of Emil otto Hoppe

E.O.Hoppe

E.O.Hoppe

Specifications for submission of High Definition “E” Photography

RECOMMENDED PROCEDURE Maximum Pixel Size = 1080 x 1920 Maximum Data File Size = 2000 Kilobytes (2mb) Jpeg We use 2 Categories at Edenvale for our club submissions 1) NATURE...”na” 2) PICTORIAL....”pi” The image must be named as follows Star Rating_Category_Image Name_Persons Name EXAMPLE:...2_na_hornbill_joe blog (all lowercase)

1.

Select Canvas [Frame] Size under the heading “ Image” in Photoshop if you wish to add the border to the image and make your adjustments. If you do not wish to add a border, go to step 2 2.

Select Image Size under the heading “Image” in Photoshop – tick the following boxes : Scale Styles, Constrain Proportions and Resample image.

3.

The maximum size of the image must not exceed 1920 pixels wide and 1080 pixels high 4.

When resizing a horizontal image ( Landscape ), enter 1920 pixels in the Width box and the vertical size will be adjusted automatically if you have ticked the “ Resample Image” box . If the vertical size is 1080 pixels or less, the resizing is correct. If the vertical adjusts to a value more than 1080 pixels ( say 1096 pixels ) then adjust the vertical size to 1080 pixels and the horizontal size will automatically reduce below 1920 pixels if you have ticked the “ Resample Image” box.

5.

When resizing a vertical image (Portrait), enter 1080 pixels in the Height Box. The value in the Width Box will change automatically to match the original image if you have ticked the “ Resample Image “ box.

6.

The maximum image data file size is 2000 (2MB) Kilobytes in the JPEG format . Note that if a border is added to the image, this must be added before resizing and reducing the file size to a maximum of 2000 Kilobytes to ensure that the image remains within the specified 2000Kb (2MB).

7.

It is recommended that the image be displayed in the sRGB Colour Profile.

This can be selected in the camera or changed in Photoshop under Edit/ Convert to Profile.

New

MEMBER

FOCUS

My journey with photography started with me perusing any photographic magazine I could.

I would look into each and every corner of the photos, ask myself why I liked a particular pic, and stare in wonder and amazement, not understanding why my mik en druk snapshots couldn’t look like those in the magazines!!

Eventually, about 6 years ago I think it was, we acquired the very entry level Nikon D3200. I loved that camera! In fact, my most favourite photo of all time was taken with that camera. The strangest thing of all is that it is actually a portrait - strange because I a am so not a portrait photographer!! But there it is, printed, hanging larger than life in our home. I love shooting wildlife, landscapes and travel pics.

Of course, living in the city is not exactly conducive to that style of photography, and my biggest handicap of all is the fact that work interferes with my weekends!!

However, that does not stop me dreaming photography daily. I have since upgraded equipment, first to a D7200 when they were launched, and then earlier this year to the awesome Nikon D850 (Yes, that’s a plug)

Linda

Carter

I am loving the new camera and find that my post processing of the raw files is so less necessary.

Not sure if it’s the full frame or the extra pixels, or possibly I’ve learnt a thing or two about getting it right in camera, but whatever the reason, I’m loving the results.

Still have so much to learn.... not enough time..... lots of passion though!

Looking forward to learning through the club.

Fantastic Examples of Fine Art Photography

Fantastic Examples of Fine Art Photography AUGUST 23, 2019 · STEPHANIE KAY-KOK, THE PHOTO ARGUS

What is fine art photography, exactly? You’ve probably seen the phrase a few times (or many times). Maybe you’ve even wondered whether your own photography is “fine art” or not.

The genre of fine art photography is confusing partly because its definition is so vague. Fine art photos are images that are created solely for their imaginative or aesthetic quality. It’s the opposite of documentary photography, which seeks to capture life, people, and significant events for memory and historical records.

Documentary and fine art photography are clearly different in theory, but in practice, there’s a large gray area.

For instance, if you care about aesthetics and photojournalism, how do you know when you’re creating fine art versus documentary photos?

Giuseppe Milo – Girl on Garda lake – Sirmione, Italy Here’s one way to simplify the fine art versus documentary question. When you’re taking a photo, ask yourself, “What’s more important, the subject or the art?” Obviously, both are important, but which one inspired you to take the photo?

For example, if you’re photographing a birthday party because it looks cool and you want to remember it, or because you want to share pictures of it with others, then the subject is more important. If it were a different party with no significance to you, you wouldn’t take the photo. In this case, it’s documentary photography.

On the flip side, if you’re photographing the party because you see an opportunity to develop an idea or create something you’ve imagined, then the art is more important. The party may have no significance to you beyond that idea or the imagined picture you’re creating. In this case, it’s probably fine art photography.

Still confused? Try browsing fine art photos to get a feel for what they’re like. The following 30 images, organized by genre, are a great place to start!

Fine Art Portraiture

Most portrait shoots require some creativity and forethought. However, with documentary-style portraits, creative planning is focused on the model’s personality and identity. You’re trying to bring out who they are, rather than develop your own ideas and art.

In fine art portraiture, it’s the reverse. The art you want to create – your ideas – are more important than whoever the model is. For instance, look at faceless portraits by Patty Maher. They’re a good example of how important the photographer’s vision is in fine art.

This focus on art is perhaps most clear in fashion photography, where the models’ personalities are often irrelevant and eclipsed by the concept of the shoot. Unless the shoot is highlighting clothes and accessories instead, fashion photography tends to cross over into fine art photography. Just flip through a high-end fashion magazine to see this!

Dasha Mari - Mon Amour

Berit Atlis - Courtney Anthony Wood - in her living room

Galib Emon - Untitles

Conceptual Photography Conceptual photography is, by definition, a type of fine art. For this reason, the two are often confused or used interchangeably. However, fine art is a broader category than conceptual photography; not all fine art is conceptual, though all conceptual photos are fine art.

Conceptual pictures may also resemble fine art portraits. The difference is that a conceptual portrait represents a specific idea, such as fear or curiosity, while a fine art portrait may have no specific meaning.

Jaime Nicolau – Cuchiburón

Still Life Photography Still life photography is another genre with a large gray area between fine art and documentary photography.

The difference is, again, the purpose of the photo and the importance of the subject. Are you taking the still life picture because the subject is special, and you want to show it to others? Or are you experimenting with an idea or technique to create art?

For instance, you can find countless images of food on Instagram, but the majority are spontaneous and documentary in style. They show a special location, dish, or moment in time the photographer wanted to capture and share.

By contrast, in fine art food photography, the photographer’s imagination is clearly evident in the picture. It’s not a memory; it’s something the photographer thought about and then executed artfully.

Sergio Boscaino – High Tide

Fine Art Landscape & Nature Photography Some fine art photographers thrive in a studio setting, where they can control all the details of a shoot. Others thrive in natural settings, such as wild landscapes, where they can’t control everything. Then, instead of creating a scene from their imagination, they put their imagination and style into a scene that’s already there.

Fine Art Architectural Photography Similar to landscapes, architecture is a subject you can’t bring into your studio. You have to go out, find unique angles, and develop a style that’s distinctly yours. In this way, you can present an artistic view of architecture that changes the way viewers see everyday buildings.

With architecture, too, you can develop ideas that you communicate through your images. For instance, fine art photographer, Sharon Tenenbaum has shifted from celebrating the shape of architecture to focusing on the interaction between people and their architectural environment. Read her thoughts about this creative shift in her article, What Makes a Great Fine Art Architectural Photograph?

Fine Art Photojournalism / Street Photography On the surface, photojournalism and street photography may seem purely documentary. After all, documentary photography focuses on capturing reality, so it can be shared and remembered. Isn’t that what photojournalism is?

Yes, sometimes, but not always. Ever since news photographers began taking inspiration from art photographers in the 1960s and 70s, another motivation for photojournalism has emerged. Nowadays, it’s not uncommon for photojournalists to focus on the artistic and emotional impact of their images, not just the reality of the scene.

They want to create visual narratives, which stir viewers’ emotions.

Typically, this emotional story isn’t created by coincidence. Successful photojournalists do thorough research ahead of time, and after this preparation, they choose a story or idea they want to explore. Then, they show up on the scene with this concept already in mind.

But even when a photographer is working spontaneously, letting their environment inspire them, they can still have a point of view they’re trying to communicate. For example, take these photos of an ultra-orthodox community in Jerusalem, shot by street photographer Ilan Ben Yehuda. Despite the spontaneity of the shots, they’re composed to create stories with themes of humor, irony, and surreality. In this way, they’re more like fine art than documentary photography.

Nimit Nigam – Cleaning…

EPC Outing at Zwartkops Raceway Extreme Festival Sat, 17 Aug 19...08:00 - 17:00 It was a beautiful clear day.

Plenty of secure parking was available near all the action.

I arrived at around 9am and checked out the scene well before the first event at 10am. I went to the restaurant to find other keen EPC Members but sadly there were none. A full programme had been planned for the day. The morning races were repeated in the afternoon.

After checking out the track layout and the direction of the sun I, concluded that two corners (Nos.2 and 6) were suitable for some great shots. I chose corner No.6 with a grandstand that provided plenty of shade. After settling down at a good position with the best view of the corner ensuring a clean background and good light, I got my gear ready.

From this position I could see the corner No.2 where I saw Dave Wolstencroft and Linda Carter sitting a long way off.

Called Dave and we swapped cell photos of the view of the corners.

Some time later Dave and Linda joined me at corner No.6.

I used the following settings for most of my photos.

400mm, 1/160s, f18, ISO160.

High Speed Continues Shooting.

The key is a slow shutter speed and a good panning action.

Standing in a position that allows a smooth and steady movement left to right or visa versa.

Ensure that the subject in the view finder well before the sweet spot.

Aim at the front of the subject to allow space in front of the subject.

Words and Images by Ted Kinsman

Cover Story by Linda Carter This Elli was shot last December from a boat on the Chobe River.

We spent two days with Pangolin Photo Safaris, and they have these awesome specially built boats with flat bottoms.

You can get quite close to the game in them - although obviously that particular shot was zoomed right in.

I know that the pic was not cropped - it came straight out of the camera like that.

Special Subject Human Portraiture Title : David

Winner

Valerie Sampson