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Edenvale Photo Club Newsletter - JULY 2021
Sharing Visual Art since 1950 CERPS WINNERS 2018 AND 2019
02 / JULY 2021 COVER IMAGE by
Anne d’Oliveira She will always be remembered for her kind words, ever-present smile and photographic inspiration. She will be sorely missed by us and the photo community at large.
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 Heidi Broschk
EDENVALE PHOTOGRAPHIC CLUB IS A PROUD MEMBER OF THE PHOTOGRAPHIC SOCIETY OF SOUTH AFRICA
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DEAR MEMBERS There are many aspects to photography. When one starts out, you only think about getting the shot, downloading, and presenting. As your experience grows, you realise that you need some form of editing software such as Lightroom and or Photoshop, so you add that to your basket of tricks. Move on a year or two and you now have a large library of images and these need to be organised. It would be best to do this right from the start, either using the classification system in Lightroom, or Bridge (part of the Adobe CC Photography package) or some other third-party software. This makes is lot easier to find images and to find the images you have rated as good, bad, etc. The time saved here makes a huge difference to your image processing. Along with a large library comes an increase in storage requirements, so you upgrade your computer, either with more internal hard drives or external hard drives and move off the images you doubt are acceptable but would like to keep. You could also move your most precious images to the cloud, but cloud storage can be expensive. As your Lightroom or Photoshop skills increase and you start to create large composites, you might find you are running out of processing power or memory, so time to upgrade again. You might also find that your interested in other genres such as macro and once you start to get into it, you might want macro rails, macro lenses, macro lighting… the list goes on. And there you are, all set up, finally happy with your equipment and creating image masterpieces. Then the worst happens. You either have a hardware failure or worse, your equipment is stolen, and all your years of images gone in an instant. Sure, this won’t really affect your livelihood too much unless you are earning a living from those images. You can insure the equipment, but there is no way insurance can replace those images or the time and cost invested in getting them. I cannot stress how important it is to back up your work, maybe not every single image, but your most prized images or those with the most sentimental value. Ideally these backups need to be kept separate from the main storage, preferably in a safe or at another location. I recently had an incident where my main hard drive failed unexpectedly, and it was a costly exercise to recover the images. Luckily, I could. It could have turned out totally differently. I’m not trying to scare any of you with costs and the like. I just want you to be aware of worst case scenarios and take appropriate action if you can. Look after yourself and your work. A little extra effort makes a huge difference later.
Chairman: David Wolstencroft 083 229 8066 davewol@gmail.com
Dave
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Committee Members
BI-MONTHLY MEETINGS ARE CURRENTLY CONDUCTED VIA ZOOM DUE TO COVID REGULATIONS Chairman:
Treasurer:
Scoring & Promotions:
Ted Kinsman 083 461 2350 tkinsman@global.co.za
David Wolstencroft 083 229 8066 davewol@gmail.com
Marketing and Secretary: Natasha Bird 082 920 8898 mnktrad@mweb.co.za
Newsletter Editor & Graphic Design: Hanli Smit 083 253 1034 hanlis54@gmail.com
Certificates & Awards Des Alexander 083 226 1452 neoncomp@webmail. co.za
New Members, Social Media & Website Clare Appleyard 083 234 0247 clare.appleyard@gmail.com
MEETING TIME AND PLACE 2ND AND 4TH WEDNESDAY OF THE MONTH AT 18H30 FOR 19H00 EDENVALE COMMUNITY CENTRE COR. VAN RIEBEECK & 2ND STREET, EDENVALE
Salons, Judges and Outings: Heidi Broschk 079 886 8515 heidib@uj.ac.za
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IN THIS ISSUE Page 6 Page 16 Page 24/25
PAST MASTER OF PHOTOGRAPHY -ALEKSANDER RODCHENKO
14 July CLUB NIGHT WINNERS
SET SUBJECT WINNERS
Page 26
28 July CLUB NIGHT WINNERS
Page 34
FUN FACT ABOUT ANSEL ADAMS
Page 36
DEFINING ART PHOTOGRAPHY
Page 38
Make Magic TUTORIAL
Page 41
PHOTOGRAPHY LAWS by Jason Snyman
Page 48
SALON CLOSING DATES
Page 50
ANNE d’ OLIVEIRA
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Source: Wikipedia
PAST MASTERS OF PHOTOGRAPHY
ALEKSANDER RODTCHENKO Born in St Petersburg on November 23rd, 1891, Aleksander Rodtchenko was one of the most eclectic artists to emerge from the Russian Revolution. Sculptor, painter, photographer and graphic designer, he is the founder of the “Russian Constructivist” movement and was also very influential in Photography and Russian Design. In 1907, after his father’s death, his family moved to Kazan. In 1910, he began studies at the Kazan Art School, where he met his future wife Varvara Stepanova. In 1914, he moved to Moscow where he pursued briefly his artistic studies at the Stroganov Institute. In 1915, using a compass and a ruler, he created his first geometric black and white drawings. In 1916, introduced to Tatline by architect Viktor Vesnine, Aleksander Rodtchenko will exhibit his drawings at the “The Store” exhibition alongside painters Lioubov Popova, Alexander Exter and Ivan Klioune. Alexander Rodtchenko’s work was influenced by innovative Cubist and Futuristic artists. In 1917, he applied his Futurism research on everyday life objects and designed lamps for the “Pittoresque Café”, newspaper stands, buildings etc... It is at that time that he founded the left wing “Painter Syndicat”. Following the Russian Revolution, as most avant-gardist Russian artists, he will become a member of several official schools (Proletkoult, Vkhoutemas), where he will become a teacher.
07 / JULY 2021 In 1919, he will present his “black on black” paintings to answer Malevitch’s “White on White” series. It is also at that time that he started experimenting with collages and photomontages. In 1921, he took part in various exhibitions, one called “5x5=25”, where he presented a Monochrome triptych. Each canvas presenting a primary color: Red, yellow and blue. At the end of the exhibition, he signed the “Productivist Manifest” to abandon easel painting to focus on everyday life objects. The same year, in March, the “Constructivist” movement was created within the Inkhouk Institute.
Initiated by artists, critics and theoricians its aim was to conduct “concrete experiments in the real world”. From 1922 onwards he started producing graphic designs for movie, books and== political billboards. In 1923, he started collaborating with various editors and till 1925, he illustrated the cover of Constructivist magazine LEF. Influenced by German Dadaist photomontages, Rodtchenko began experimenting with photographs in 1923. His first photomontage illustrated Mayakovsky’s poem “About this”. From 1924 onwards, his focus was on photography. He started experimenting on new compositions and techniques.
His work emphasized the subject’s position and movement in space combined with a diagonal framing. He also produced many portraits. In 1925, he was responsible for the Soviet Pavilion at the “International Industrial and Modern Art fair” held in Paris. In 1933, he was commissioned by Russian magazine SSSR na Stroïké, to photograph the construction of the Baltic Sea Canal.From 1934 to 1939 Rodtchenko and Stepanova, produced several photo albums: “Fifteen years of Soviet Cinema, Soviet Aviation, Ten years of Ouzbekistan”. During the second world war, as other artists, he fled Moscow and took refuge in the Perm region where he will produce patriotic billboards.
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One of the great photographers who passionately believed in the photographic medium as a form of art was Alexandr Rodchenko. The Russian photographer from the early twentieth centuary was one of the most influential figures in the history of photography
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TWO STAR NATURE WINNER 14 JULY 2021
FishCattle EagleEgret Posing Peter Fine Fine Peter
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TWO STAR PICTORIAL WINNER 14 JULY 2021
The joy of catching the wave Fabiola Geeven
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THREE STAR NATURE WINNER 14 JULY 2021
White Bellied Sunbird Andrew Mayes
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THREE STAR PICTORIAL WINNER 14 JULY 2021
Feeding Time
Andrew Mayes
20/ JULY 2021
FOUR STAR PICTORIAL WINNER 14 JULY 2021
Cameras of Yesteryear
Stephen
Kangisser
21/ JULY 2021
36 / JUNE 2021
CELL PHONE 5STAR WINNER 14 JULY 2021
Somewhere in Austria
David Wolstencroft
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FIVE & 5 STAR HONOURS NATURE WINNER
14 JULY 2021
Squacco Feast
Dave Gordon
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FIVE & 5 STAR HONOURS PICTORIAL WINNER
14 JULY 2021
Waiting for the Duel Natasha Bird
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SET SUBJECT WINNER PARALLEL 14 JULY 2021
The Top Floors
Clare Appleyard
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SET SUBJECT WINNER PURPLE 28 JULY 2021
Purple wishes
Natasha Bird
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TWO STAR NATURE WINNER 28 JULY 2021
Painted Wolf
Gavin
Duffy
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TWO STAR PICTORIAL WINNER 28 JULY 2021
Majestic cumulo nimbus Fabiola Geeven
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THREE STAR NATURE WINNER 28 JULY 2021
Dry Land
Andrew Mayes
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THREE STAR PICTORIAL WINNER 28 JULY 2021
Redwinged Starling
Andrew Mayes
30 / JULY 2021
FOUR STAR NATURE WINNER 28 JULY 2021
Busy Ox Pecker
Stephen
Kangisser
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FOUR STAR PICTORIAL WINNER 28 JULY 2021
Portrait of Oliver Twist
Stephen
Kangisser
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5* & 5 Star Honours NATURE WINNER 28 JULY 2021
Where have you been Dave Gordon
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5* & 5 Star Honours PICTORIAL WINNER 28 JULY 2021
Naked Truth
Hanli Smit
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The Surprising Story Behind Ansel Adams’ Most Famous Photograph
If you’re familiar with the work of legendary photographer, Ansel Adams, chances are you’ve encountered Moonrise, Hernandez, New Mexico. Arguably Adams’ most iconic image, this black-andwhite photograph features the moonlit homes and cemetery of a quiet community. Perhaps the most eye-catching element of the photograph, however, is the stark contrast between the glowing moon and darkened sky— a striking visual that Adams himself was obsessed with obtaining.
35 / JULY 2021 According to a captivating video by the Ansel Adams Gallery, Adams snapped this now-famous scene as he, his son, and his assistant were en route to Santa Fe from an assignment in Northern New Mexico in 1941. As they approached the Hernandez village, a mesmerizing scene unfolded before their eyes: “The moon was about two days before full and the buildings and crosses were illuminated by a gentle, diffused sunlight coming through the clouds of a clearing storm.” Adams pulled over in order to get both a better look and a photograph of this remarkable phenomenon. After setting up his equipment, he quickly realized he could not find his exposure meter. Without this tool, he would not be able to determine the proper exposure for the photograph, and, consequently, couldn’t capture the scene in all its glory. With some quick thinking (and impressive prior knowledge of the moon’s light per square foot), however, he was able to improvise. This allowed him to estimate the exposure without the meter and capture a single negative before the “light failed completely and the magical quality of the scene was gone forever.” He took the precious film to his studio. Here, he developed the negative with multiple water baths to bring out its stark tones, but found it difficult to print. Over the next few years, he repeatedly revisited the negative, experimenting with different contrasts and printing techniques. Finally, in the 1970s, he achieved “a print equal to the original visualization that [he could] still vividly recall.” Adams, aware of the photograph’s widespread popularity, made 1,300 prints of the iconic image before his death in 1984. Today, it remains his most beloved work and serves as a reminder that “chance favors the prepared mind.”
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Defining Photography as Art https://www.lomography.com/magazine/341443-photographer-vs-artist-photographer
The Lomography Magazine spoke to artist and conceptual photographers Adele Mathieu, Barbara Bezina and Alfonso Aguilar on what separates the photographer from the art photographer and how they differentiate.
The words Art Photography is very loaded today. What constitutes one to be artistic is highly subjective to each person. Art photography, according to The Visual Arts Cork, is said to be the more personal approach with the camera, however, art photographers have their own standards of what constitutes an image to be artistic. For French portraitist Adèle Mathieu, art photography is something that falls on to the aesthetics: “In my opinion, Fine art photography is something that you enjoy and appreciate to look at. There is something related to the aesthetic and beauty. Every artist defines his own definition of Fine Art when they create something new.” They say art photography is also something that should be transcending from reality, the kind of photography that looks beyond realism. Art photography is the creation of images that we’re yet to see in life. Photographers Bárbara Bezina and Alfonso Aguilar share the same definition of the term. Barbara further elaborated:
“I can say that art is something alive, always in movement. Sometimes I can’t differentiate between my spiritual path and the artistic. I would dare to say that they are intertwined and art is a door to the mysteries of life that is never superficial and that artistic photography would have that depth and see beyond as one of its main characteristics.” Moreover, art photography goes beyond the camera. An image is created through any means as long as the result materializes into the vision of the artist. Alfonso, who also works as a cinematographer, said: “Fine art photography is the end result of a concept, feeling or idea that exists only in the mind of the artist. He or she would then use the necessary tools to materialize this idea into a unique photo or series of photos.”
The Photographer versus The Artist Photographer Not all photographers automatically are artist photographers. As mentioned above, the word art is very loaded today. To start with, the photographer is more of a person that relates themselves to their surroundings. It allows the real world to take control and the photographer be guided. Alfonso explained
“The photographer reacts to the surroundings and takes a photo when he/she sees something interesting. The artist has a concept in his mind and is looking or creating something specific that relates to a particular set of ideas.” Art, in itself, is to imitate life. However, art photography is to see beyond life. The camera is already the perfection of the painting medium as regular photographs are the nearest imitations of life. To make a photograph be artistic is to twist the world a little. The artist photographer has their own visions and leads to follow. There is a predetermination in artphotography, according to Adèle and Alfonso. They allow certainty of their instincts and imagination take over. Adèle said: “Not all photographers are an ‘artist-photographer’ to me. Some of them are specialized but not in an artistic way. Also, ‘artist’ is a powerful term to use. An artist photographer is someone who creates something, a story. Each image is conceptualized and the shooting organized. This is the difference between a photographer and an artist photographer. The artist photographer has a vision, the photographer has limited skills.”
37 / JULY 2021 Furthermore, the artist photographer’s medium is widened and expanded. Alfonso believes that the artist photographer is not only skilled but educated about the aesthetics, which makes the difference between the regular photographer and the art photographer even more distinguished. He said:“For me, an artist-photographer is that person who creates unique photos and makes the viewer think of what he or she is seeing. It is a very concrete line that separates the artist photographer from a regular photographer. Anyone can be a photographer but to be an artist you have to know the craft, tools, a bit of history and through trial and error experiment to develop a vision. There is something that every artist needs to communicate, in this case, is through photography.” The artist photographer, of course, is actually just an artist with a camera. For Bárbara, the artist photographer is an artist of all mediums: “An artist can make bread, gardening, photography or do the same - nothing that he will continue to be an artist.
A photographer takes pictures. Being an artist for me is related to self-knowledge. It’s about emptying ourselves more than anything and to remove those layers that were hiding the jewel that is oneself, unique and unrepeatable. From that place it’s from where something genuine and different is created, something magical and that for me is art.” On Becoming an Artist Photographer “ So, how does a photographer turn themselves into an artist photographer? There are many standards for photographers to follow today – one that majorly influences photographers right now is the almost-perfect accuracy digital photography has provided. To be an artist photographer, one must first study. What makes iconic art photographers_iconic_ in the first place? What’s in their work that makes it art? Alfonso advised: “First of all study the work of renown photographers. Read about them and their work, better if you can find interviews, books or quotes from them. Know your tools (camera, lenses lights, etc) what they do and how you can use them to affect a photo. Focus on a particular idea and try to find a very personal and intimate way to photograph it.”
Another tip one should mind is finding the right balance of following and breaking the rules. Gain the confidence to go against the grind and follow their own vision. What makes a photographer an artist as well is that they are unique, and the only way to be unique is to embrace your individualism.”Be yourself. Don’t copy, don’t follow fashions, don’t look for references and constantly experiment, don’t get stuck. You see so much of the same thing that it’s a miracle to find someone who does something different. You have to see more for inside and less for outside.” said Bárbara. Lastly, becoming an artist photographer does not happen overnight. It’s an accumulation of habits, experiences, rigorous training and creating a routine. The road is long and winding to your artistic journey, but never give up. As with the wise words of Adèle: “Try a lot of things, fail, and try again.”
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WRITTEN AND COMPILED BY HANLI SMIT
Make Magic
Follow these easy steps to create “ Twirls”
Step One: Remove the subject from the background, Photoshop offers many easy methods to remove a subject from the background. I taught myself with the help of a “You tube” video to use the pen tool. I find it the most accurate. The magic wand and Lasso select tools can also be used with great success. Once you have your subject cut away, save it as a PSD file, for further use as “the model” Save another copy as “twirls”. Open the “twirls “ copy to start the process.
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Step Two:
Open the image you saved of the model called “twirls”. Right click on the layer and convert it to a smart object. >Go to Filter >Pixelate >Mezzotint > set on medium strokes
Step Three: Go to Filter >Blur >Radial Repeat about 3 times untill it is smooth Click on Zoom > quality Good
Step Four: Go to Filter > Distort > Twirl...set the slider to -120 ..........duplicate the layer and then repeat and set the slider to +120
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Step Five:
Open the image you saved of the model called “twirls” , combine all visible layers. Create a new layer below the twirls. Fill the new layer with a complimentary colour, I chose light purple. Then merge all layers and save as “ Twirls Final”.
Step Six:
Open the image you saved of the model called “twirls final” as well as the model removed from the background. Pull the model into the image of the Twirls and place it where you think best. The twirls now matches the colour values of the model image. Flatten the layers and save as a JPEG. In this image I also created a shadow under the models foot so that she does not look as if she is floating.
41 / JULY 2021 Written by Jason Snyman
An interesting read by Jason Snyman. Photography Laws – Both Sides Of The Lens. It may be Instagrammable, but that doesn’t mean you’re allowed to point your camera at it. Photography in SA may not be as easy as you think here are all the important factors you need to be aware of! One of the most significant changes brought about in the 21st century is the decline of photographers and photography studios. They’ve both been replaced; by camera phone users and bathrooms. One good product of this is that now, anybody can be a photographer. This also leaves us with a dire problem. That is, now, anybody can be a photographer. Let’s cut the 3200-word diatribe on Instagram short. Whether you’re for or against social media, anybody out and about with a camera needs to know the law surrounding these activities. Maybe you’ve finally expanded your interests away from the thousands of filtered sunset / selfie / avo-on-toast photographs you’ve been taking. If you have, and you point a camera at another person, chances are they may not like it all that much. So, we need to take a closer look at your rights as a photographer, your rights as the subject of a photograph and what the law says you may and may not do.
Photography Law in South Africa The laws surrounding photography, and the rights to the photographs we take, have become a contentious issue not only in South Africa, but all around the world. Few of our laws pertain to photography directly.
42 / JULY 2021 Written by Jason Snyman
In fact, the only specific restriction placed on what may not be photographed by government is related to anything classified as national security. This could be military installations or infrastructure such as police stations, airports, bridges, consulates or border crossings. These days most people have a camera in their pocket, able to whip it out at any time and snap a shot of their food, of famous landmarks, of interesting-looking objects, and of your children. People take and share more photographs now than ever before, in a variety of ways, including social media. We’re constantly flooded with images of strangers, co-workers, employees, attendees, celebrities, customers and friends or family. One day, you may anger a person you’ve photographed without permission. They may threaten to harm you or smash your camera, or even have you arrested.
So, before we get into the basic ethics of it – what does the law actually say? In South Africa, any person may photograph any other person, without their permission, in public spaces. These people may or may not be the sole focus of your photograph. The emphasis here is on the word public.
43 / JULY 2021 Written by Jason Snyman
Street photographers, for example, are free to take photos of anyone or anything in the streets or parks. They do not need your consent. Even if you happen to be on private property at the time, let’s say on the balcony of your Sea Point apartment, anybody walking by on the public walkway outside may take your picture. Because the laws surrounding photography in our country, specifically, are so often vague, we have to have a look at trespassing, fair use, copyright and privacy laws laws, and interpret them as best we can to fit the situation. Privacy Law Privacy laws permit a photographer to take pictures in any public space. This includes anything which can be seen from a public area. These laws make things like Google Street View possible (there was some controversy surrounded the project, however, concerning the elevated position of their cameras which enables Google to shoot over walls).
44 / JULY 2021 Written by Jason Snyman
Enjoy sunbathing on your veranda? ‘Nuff said.
Photographers have broken no laws by photographing you, they don’t have to explain themselves, they don’t have to show you the photograph and they don’t have to identify themselves. That photo belongs to them now, and it is their personal property.
You, as the subject, may not threaten them or physically restrain them. That’s against the law. By appearing in public areas, or within the range of a zoom lens in public areas, you essentially waiver your right to anonymity or privacy.
You, as a member of the public, only have rights when you have secluded yourself to a place where privacy is deemed a reasonable assumption. Such as bathrooms, changing rooms, medical facilities or inside your home, hiding in your wardrobe. It is also generally accepted to use images of anybody for personal or fair use purposes. This could include news, satire, creepy scrapbooks or works of art, which you could publish and sell without the subject’s permission. For this reason, people who enter into a career of politics, for example, waiver their rights to privacy and publicity. These people are frequently used in newsworthy purposes without any compensation.
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If you’re planning on selling the actual photograph to a stock photo agency, or use it to create an advertising campaign, for example, then you will need to get signed permission from the subject, because individuals have sole rights to their persona being used for commercial promotion. Even if they were photographed in a public space, and even if they are a celebrity or public figure. Any unapproved commercial use of your name, image, likeness, reputation, or any other identifiable facets of your identity would be considered illegal. This last point is important, as it is almost the only way to prevent people from photographing your children in public. If they want to use that image for any commercial gain whatsoever (even improving their status as a photographer), they will need permission from the parents. If it’s for their own private collection, however, as disturbing as that is, there isn’t much that you can do about it except confront them, and demand that they cease. This is thanks to a set of bylaws that provide exceptions to the standard rules. Privacy is considered personal and individual. If somebody expresses a wish for privacy, the act of stating that wish affords protection. Once they voice that desire, you have to comply. And lastly, you may not use any image in a way that would misrepresent the subject. You may not publish a photograph of a person in any context that states or implies anything untrue about the subject. This is considered an act of libel, and the subject could take legal action.
46 / JULY 2021 Written by Jason Snyman
Trespass Laws As photographers leave the public domain and enter private property, they become subject to rights of admission. Private property could include a shopping mall or a casino, or scaling somebody’s back wall. Luckily, for people who wish to avoid being photographed, many of these places may appear to be public, but they are not. Many of the places where people gather in South Africa are privately owned. Two examples are the V&A Waterfront in Cape Town and Melrose Arch in Johannesburg. You might find ‘No Photography’ signs all over the entrances. In this case, they have the right to prevent you from taking any photos and may ask you to leave the premises. Any venue that charges you an entrance fee, such as museums or stadiums, usually sell tickets with terms and conditions attached. This may include no photography as a condition of entrance. This isn’t entirely unreasonable – they simply want to prevent images being published of something that other people had to pay to see. There may also be Trademark issues and laws involved, particularly at sporting events One important note is that nobody may confiscate your equipment or destroy images or detain you in any way. If you do not leave when asked, though, they may lay charges against you in accordance with the trespass law. Whether it concerns a shopping mall, a private residence, a hotel, business or even a lobby, the act of trespassing is illegal. In landscape photography, for instance, it’s a good idea to meet the farmer of the lands before photographing them. With crime and farm murders so prevalent in SA, you don’t want to be shot in the back whilst photographing the mielie fields. What a depressing way to die.
47 / JULY 2021 Written by Jason Snyman
Copyright Law Copyright only applies to physically manifested work. This is the end product, whether it be a photograph or a digital file. Copyright generally does not apply to a thought, an idea or a concept for an image. Somebody may take your concept and turn it into physical, material form – and the rights to that image will be theirs. South African law differs from international law with regards to some aspects, in that “commissioned photographs are owned by the commissioner (client)”. This means that freelance photographers have no rights to their work. Though a contentious issue, it can be sidestepped by mutual agreement between the parties, even if only verbal. Because contract law overrides copyright law, parties can be held to the negotiated agreement. Copyright is automatic, in that you do not need to take any action to guarantee your work is protected by the law. Adding that little copyright logo to an image (©️) should be accompanied by the owner’s name and the year the image was published. The logo chiefly serves as a reminder that the creator reserves all rights on the usage of said image, and tells interested parties who to contact should they want to obtain rights for the image. Copyright is valid for 50 years from when an image was made public.
Thank you for this interesting read by Jason Snyman. Photography Laws – Both Sides Of The Lens.
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Closing dates for upcoming Salons 2021 find the information brochures on the PSSA website 2021-08-14 Sandton 8th National Digital Salon (Brochure available) 2021-08-21 16th Krugersdorp Camera Club National Digital Salon (Brochure available) 2021-09-11 AFO 10th Digital Salon (Brochure available) 2021-09-18 5th Lowveld National Salon (Brochure available) 2021-09-25 PSSA 20th Up and Coming Salon (Brochure available) 2021-10-02 8th Swartland Salon 2021-10-09 Camera Obscura International Salon Circuit - Edenvale 2021-10-30 5th Paarl National Salon of Photography (Brochure available) 2021-11-06 2nd Benoni PDI Salon (Brochure available) 2021-11-13 OTRCC 2nd National Digital Salon 2021-11-20 Cross Continental Circuit 2022-01-08 MIROC International Salon Circuit - Edenvale
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Written by Heidi Broschk
SPECIAL MEMBER
FOCUS
ANNE
d’OLIVEIRA On behalf of the Edenvale Photographic Club, we would like to express our profound shock and extreme sadness at the passing of Anne, one of our most beloved judges and fellow photographer! She attended many of our meetings, was always willing to lend a hand, offer advice and judge for us at the drop of a hat. She will always be remembered for her kind words, ever-present smile and photographic inspiration She will be sorely missed by us and the photo community at large. We would also like to extend our heartfelt condolences to her friends and family. May dear Anne rest in peace.
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Anne d’Oliveira Photography
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Images by Anne d’Oliveira
Images by Anne d’Oliveira
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Images by Anne d’Oliveira
Images by Anne d’Oliveira
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