FOCUS CERPS WINNERS 2018 AND 2019
Edenvale Photo Club Newsletter - MAY 2020
Sharing Visual Art since 1950
02 / MAY 2020 COVER IMAGE BY TED KINSMAN
Story behind the shot: The original image was taken on the 20/08/2019 in Umhlanga at around 6am. I chose this image due to the great contrasting colours. Played around with the Liquify filter to get the result I was looking for.
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 pixel. 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 form. 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
03 / MAY 2020
DEAR MEMBERS Here we are in the midst of a pandemic. People confined to their homes; cannot go out to photograph. These are definitely unique times, never experienced by most of us, if not all of us, before. Personally, I cannot decide if this is truly a pandemic, or hyped up by the media with hidden agendas as per numerous conspiracy theories going around. Whatever is happening, it is having an impact on everyone’s lives, some worse than others. I truly hope and pray that all our members are safe and healthy, coping mentally and financially, during this trying time. I also hope that you are all using this time to further your photography.
Chairman: David Wolstencroft 083 229 8066 davewol@gmail.com
Practice makes perfect, and along with the awesome Photoshop sessions that Robbie has kindly given, this is the time to focus on new techniques and topics.
Not only will you learn from the time spent behind the camera, but it will take your mind off what is happening around us, even if just for a short while. It also looks like some game parks will be opening soon. I must admit, I am really looking forward to being out in nature again. For me, it will be more about being out and back in nature than taking photos but take photos I will. My photography has taken a backseat to everything else at the moment, so that needs to change. They say life will never be the same again. All I know is that I am looking forward to having a club meeting and seeing you all again, hopefully not from behind a mask. Please keep safe friends, no matter what you do. Look after yourselves and your loved ones.
Dave
04 / MAY 2020
Committee Members Chairman:
MEETING TIME AND PLACE 2ND AND 4TH WEDNESDAY OF THE MONTH AT 18H30 FOR 19H00 EDENVALE COMMUNITY CENTRE COR. VAN RIEBEECK & 2ND STREET, EDENVALE
David Wolstencroft 083 229 8066 davewol@gmail.com
Salons, Judges and Outings: John Coumbias 079 1732 825 jcoumbias@telkomsa.net
Marketing and Secretary: Natasha Bird 082 920 8898 mnktrad@mweb.co.za
Newsletter Editor & Graphic Design: Hanli Smit 083 253 1034 hanlis54@gmail.com
Treasurer: Ted Kinsman 083 461 2350 tkinsman@global.co.za
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
Scoring & Promotions:
Training:
Jorge Borralho 082 337 9575
Robbie Aspeling 082 309 7470 rob@raphoto.co.za
Jorge.borralho@vodamail.co.za
IN THIS ISSUE GUY BOURDIN Past Masters Page 6
13 MAY Winners Page 20
05 / MAY 2020
Focus on Visiting Judge Kittie Page 46
27 MAY Winners Page 32
MEMBER FOCUS FABIOLA Page30
JUDGING DEBATE Page 14
Set subject ideas Abstract Photography Page 51
PSSA What can they do for me? Page 42
06 / MAY 2020 PAST MASTERS OF PHOTOGRAPHY
Guy Bourdin Guy Bourdin (1928-1991) was born in Paris. A painter his entire life and a self-taught photographer, he worked for magazines, such as Vogue as well as for brands such as Chanel, Ungaro and Charles Jourdan. He exhibited his first photographies at Galerie 29 in 1952. Nowadays his work has been exhibited in the most prestigious museums, such as The Victoria & Albert Museum, The Jeu de Paume, The National Art Museum of China, The Tokyo Metropolitan Museum of Photography and The Moscow House of Photography. His oeuvres is part of the collection of many prestigious institutions such as the MoMA in New York, The Getty Museum in Los Angeles, SFMOMA in San Francisco and the collection of the V&A, among others.
07 / MAY 2020 Guy Bourdin’s career spanned more than forty years during which time he worked for the world’s leading fashion houses and magazines. With the eye of a painter, Guy Bourdin created images that contained fascinating stories, compositions, both in B&W and in colors. He was among the 1st to create images with narratives, telling stories and shows that the image is more important than the product which is displayed. Using fashion photography as his medium, he sent out his message, one that was difficult to decode, exploring the realms between the absurd and the sublime. Famed for his suggestive narratives and surreal aesthetics, he radically broke conventions of commercial photography with a relentless perfectionism and sharp humor. Guy Bourdin used the format of the double spread magazine page in the most inventive way. He tailored his compositions to the constraints of the printed page both conceptually and graphically, and the mirror motif so central in his work finds its formal counterpart in the doubleness of the magazine spread. Layout and design become powerful metaphors for the photographic medium, engaging the eye and with it, the mind. While on the one hand employing formal elements of composition, Guy Bourdin, on the other hand, sought to transcend the reality of the photographic medium with surreal twists to the apparent subject of his images and his unconventional manipulation of the picture plane. Given total creative freedom and with uncompromising artistic ethic, Guy Bourdin captured the imagination of a whole generation at the late 1970s, recognised as the highest note in his career. Guy Bourdin was an image maker, a perfectionist. He knew how to grab the attention of the viewer and left nothing to chance.
He created impeccable sets, or when not shooting in his studio rue des Ecouffes in le Marais, in undistinguished bedrooms, on the beach, in nature, or in urban landscapes. The unusual dramas that unfold in these seemingly everyday scenes and ordinary encounters pique our subconscious and invite our imagination. Moreover, he developed a technic using hyper real colours, meticulous compositions of cropped elements such as low skies with high grounds and the interplay of light and shadows as well as the unique make-up of the models. Guy Bourdin irreverently swept away all the standards of beauty, conventional morals and product portrayals in one fell swoop. Around the female body he constructed visual disruptions, the outrageous, the hair-raising, the indiscreet, the ugly, the doomed, the fragmentary and the absent, torsos and death - all the tension and the entire gamut of what lies beyond the aesthetic and the moral,« explains the exhibition’s curator Ingo Taubhorn. Bourdin investigates in minute detail the variables of fashion photography, from brash posing to subtle performances and from complex settings to novel and disturbing notions of images. Guy Bourdin was among the first to imagine fashion photographies that contained fascinating narratives, dramatic effects with intense color saturation, hyper-realism and cropped compositions while he established the idea that the product is secondary to the image.
.A fan of Alfred Hitchcock’s ‘Macguffin’ technique - an inanimate object catalyzing the plot - the photographer constructed ‘crime scenes’, getting rid of all usual standards of beauty and morals while his images demanded cerebral responses. When such photographers as David Bailey, in the 1960s, produced fantasy images of the girl-nextdoor, Guy Bourdin captured the atmosphere of the 1970s with sharp humor, erotism and outrageous femininity. Collaborating with Issey Miyake, Chanel or Emmanuel Ungaro, it was his work for the shoe label, Charles Jourdan, that brought him the attention of a wider public. With the campaign, Guy Bourdin dared to barely show the product and turned the shoe into a trivial element of a theatrical mise-en-scène that enhanced sex and bad taste. Guy Bourdin’s imagery not only changed the course of fashion photography but influenced a host of contemporary artists, photographers and filmmakers. It is without question, that Guy Bourdin’s work for Vogue and his highly acclaimed print advertising for Charles Jourdan in the 1970s are now being seen in the appropriate context of conteporary art.
08 / MAY 2020 Images by Guy Bourdin
09 / MAY 2020 Images by Guy Bourdin
Guy Bourdin’s imagery not only changed the course of fashion photography but influenced a host of contemporary artists, photographers and filmmakers.
10 / MAY 2020
Images by Guy Bourdin
Images by Guy Bourdin
11 / MAY 2020
12 / MAY 2020 Images by Guy Bourdin
13 / MAY 2020
Images by Guy Bourdin
A painter his entire life and a self-taught photographer, he was working for magazines, such as Vogue as well as for brands such as Chanel, Ungaro and Charles Jourdan.
14 / MAY 2020
Judging Debate This article was extracted from the internet and may not always be in line with PSSA guidelines for judging, however it is very interesting and helpful in understanding the complexity of judging photo competitions.
HOW JUDGES CRITIQUE PHOTO COMPETITIONS: ARTISTIC CRITERIA AND TECHNICAL STANDARDS Shutter Release Deeply appreciated is the photo competition judge with the knowledge, empathy and wit to provide constructive praise and criticism of each and every entry. This may not always occur because of personal style or time constraints, but all judges add to our learning, and we can only be grateful for their efforts on our behalf. As an assist to the perplexed photographer whose masterpiece may have been turned aside in competition by an “Out,” “Next,” or “We’ll keep this in for now,” this article discusses the artistic objective and considerations weighing in photo competitions, and summarizes technical reasons why submitted images don’t make the grade.
15 / MAY 2020 The Main Criterion: Photography as Art To place in photo competitions generally, an image has to be seen as art. When is photography art? The most uniformly accepted criterion over the past century and a half defines art in photography as an image that evokes emotion, be it beauty, admiration, pathos, humor, intrigue, pity—any one of innumerable human feelings. To be considered art, a photograph has to be virtually free of technical flaws that would distract from the essence of the image. Since the absence of basic shortcomings is normally a prerequisite for qualification of a photograph as art, most judges begin a critique of an entry by noting any significant technical flaws. Technical Critique of Photographs In normal vision, our mental image is of a naturally composed scene in focus, with appropriate contrast and perspective, and unimportant effects diminished (e.g., glare on a polished floor is nearly as bright as the lights above it, but when we view the scene, the effect appears quashed and the impact of the glare muted). On the other hand, when a photographer captures the same scene in a two-dimensional image, it becomes a step removed from our unconscious mental processing, and the reflection of the glare appears very distracting. If the glare is not toned down, it will become an object of attention and distract from the artistic potential of the image. Similarly, it is incumbent on the photographer to provide correct focus, proper exposure, adequate contrast and sensible composition, since the mind’s eye does not adjust for such factors once an image is set to monitor, projection screen or print.
Most technical flaws cited by competition judges can be summarized as follows: 1.Out of focus: A main subject or a part of it may be blurry (or “soft”). Another potential distraction occurs when background intended to be out of focus, as in a vague blur, instead appears partly in focus (a “tweener”) which can distract from the main subject. 2.Vacant space: A sizable part of the photograph is empty or has no meaningful content, to an extent that the view appears wanting. 3.Objects “out of synch” or cut off: Even slight distractions such as an odd hand, bright color or shadow appearing in front of or behind a main subject may cause an image to be rejected. Viewer focus may also be interrupted when a significant element or parts of the image are cut off by the borders of the photograph. 4.Excessive contrast: One or more areas or colors appear too bright or dark. Unless an image is obviously abstract or includes an intended area of dark shadow, all significant areas of a photo should be lit adequately to show some texture or other detail. 5.Hot spots: When lighting is not uniform, a photograph may have a few areas of particularly bright illumination that detract from the image. 6.Weak coloration: Faded color, or a gaping absence of tone where strong color saturation would normally be expected, is considered a technical fault by many judges (for example, a substantial white (or “bald”) sky.) 7.Over-saturation: Colors appear too strong or exaggerated for effect. 8.Overuse of HDR: In the past few years, some judges have expressed dislike for what appears to them as excessive application of HDR (high dynamic range) as indicated by “unnatural” skies or other odd-looking hues. 9.Over- or underexposure. A relatively rare occurrence these days with automatic exposure control with digital imaging. 10.Glare and the like: Offputting reflections, blurs of motion and other unintended consequences of capturing an image under challenging conditions may also dilute artistic effect. 11.Image not level: Applies particularly to water views and landscapes with horizon, and to architectural photography. Images taken with wide-angle lenses are particularly susceptible. Notwithstanding opportunities for digital correction, a tripod and/or spirit level continue to be recommended for use with wide-angle lenses. 12. Presentational faults: Judges may reject print entries because the size is considered too small to effectively illustrate the content. At the other extreme, an organization may have size limitations on entries. Occasionally a judge will rule an image out because a mat is slightly crooked or ajar, or for other such presentational snafus.
16 / MAY 2020 Serious photographers, of course, are not unaware of these issues. Some flaws can be avoided with adequate preparation, or digitally corrected; yet many shooting situations are so impromptu or otherwise difficult to perfect that technical issues remain a challenge for the most expert photographers. Aesthetic Considerations: Photography as Art Clear of the technical obstacle course, a photograph may illustrate beauty or other impression, powerful or subtle, but still not win an award. The bar is high and may seem unreasonably difficult because of the subjective nature of art together with the straight odds against placing in a competition. Typically between 10% and 25% of entries can win or place, depending on the rules adopted by the sponsoring organization. Of numerous descriptions of the singular impression a superior image may offer, one that succinctly sums it up was remarked by photographer (and competition judge) Lucian Perkins in a talk to the International Photographic Society in Washington DC in January 2001. He advised that a winning photograph, “. . .must have something that drives me further than the norm. Subtlety with complexity, and that you are compelled to study more, which grabs you.” In my experience, a great photograph and sure winner evokes awe, a sense of wonder and admiration that returns with anticipation when the picture is viewed again. Further, especially in situations of tight competition, merit with respect to production of the image may enter into consideration with aesthetics. That is, more than one judge has commented that they assess photographs at least partly according to the care and expertise that appear to have gone into creating the image. Other judges have remarked that they are more likely to select a quality entry that appears to be accompanied in the competition by pieces of obviously similar style, in recognition of photographers who have submitted more than a single example of fine work.
The Judge’s Call Many judges stress the subjective nature of photography as art, indicating that what most impresses them would not necessarily sway others. Some admit to certain biases in assessing photographs, such as dislike of utterly abstract, digitally conceived imagery. A few judges have confessed to not being flower buffs; others may prefer particular kinds of entries. Since most photo clubs feature various theme nights, photographers keen on competition know their odds improve by diversifying.
17 / MAY 2020
Individual Characteristics of Winning Photos While there is no step-by-step recipe for producing award-winning, artful photos, certain characteristics are evident. Over and above an absence of technical flaws, finalist photos are frequently: 1. Of character! The subject, whether human, flora, fauna, geographic or architectural, has a distinctive and appealing presence or intrigue. The essence may be entirely innate—an expert rendition of essentially unaffected reality by the photographer—or the effect may have been enhanced by the photographer, using techniques to bring out the best of the subject. 2. Creative! Judges tend to prefer subjects and composition they have not seen before, rather than common subjects. While most judges would not rule out selecting a sunset as a winning photograph, such a piece would have to be absolutely spectacular in order to make up for its commonality. Photo entries featuring popular landmarks (e.g., national monuments) and what appear to be family pictures fare even worse, because of a sense that these subjects lack the originality expected of art. 3. Direct and to the point: The subject and theme of a great photo are immediately obvious. A not infrequent critique is that an image is “too busy” or multifaceted, which is an aesthetic rather than technical judgment. 4. Either rich in color saturation or delicately shaded. Both approaches accentuate mood. In blackand-white imagery, high contrast with strong blacks and whites without sacrificing detail creates a compelling tension. Low contrast, to the extent an image may appear nearly gray, is not infrequently grounds for rejection. 5. Composed to the “Rule of Thirds”: A landscape or waterside image composed as if set on a grid of thirds tends to appeal to the aesthetic senses of balance and order. This is certainly not an ironclad rule, but the photographer would benefit over time by keeping it in mind as an option. 6. Light transcendence: Highlighting the essence of the subject through a delicate interval of sunlight or other bright illumination tends to create inspiring photographs. The subjective nature of art cannot be overemphasized. In assessing photos in competition, judges may ultimately narrow the field through the reluctant, albeit straightforward admission that one photograph simply impresses them more than another, without further explanation. Lesson: If you believe you have a winning photo, are sure it projects a strong impression and has no technical flaws to speak of, do not be discouraged. Continue to compete the image, and it will likely achieve the recognition it deserves. ©Bill Katzenstein
18 / MAY 2020
Ethics of Success
As EPC grows and new members join us, it is important for all members to have clarity on rules and guidelines for both EPC Club Nights and PSSA Salons. Instagram, photography groups on Facebook and other social media platforms are all popular places for members to share their work, but be aware that what is considered acceptable on social media may be breaking numerous PSSA and EPC club rules, should you submit these images for competition. The most basic of all the rules as per the PSSA is that every part of the image must be the artists own work. Images downloaded, purchased or copied from alternate sources (eg. the internet) are not allowed to be used, even as backgrounds or textures. Graphic elements, if used, must also be the authors own work. A photographer may not incorporate any element into a photograph that s/ he has not created themselves. Editing of images should be strictly undertaken by the photographic author themselves. Please note that while most violations will probably go unnoticed, it becomes an issue of ethics. Even one proven violation of these rules can tarnish a reputation. Digital Manipulation is defined as making any of the following modifications to an original image by the photographic author: • • •
Adding an element to the image that was not contained in the original capture; Removing an element from the image that was contained in the original capture; Moving or repositioning an element of the image that was contained in the original capture.
It is also the right of the salon judges and the EPC committee to demand the original photos to verify the veracity of an entered image.
The following is allowed for processing of photos by the photographic author before entering a salon, and is not seen as manipulation: • Cropping; • Correction of lens distortion, chromatic aberrations, purple fringing, lens vignette and vertical/horizontal perspective adjustments; • Removal of dust spots or scratch marks from sensor or scanned images; • The blending of different exposures of the same scene to broaden the dynamic range e.g. High Dynamic Range (HDR); • Photo stacking to overcome the limitations of the digital sensor heat artefacts in long exposures; • Focus stacking to widen the depth of field especially in Macro photography. • In the case of Nature and Wildlife, HDR and focus stacking will not be considered as manipulation and may be used provided that the end result is a faithful representation of the original scene.
Note: HDR and Focus stacking are not allowed in Photojournalism. • • •
Adding an element to the image that was not contained in the original capture; Removing an element from the image that was contained in the original capture; Moving or repositioning an element of the image that was contained in the original capture.
The following general rule pertaining to entering photos in salons must be observed:
• Entering a very similar photo in the same salon is not allowed. • Colour images in Nature, Wildlife, Photojournalism, Sport and Street Photography are allowed to be converted to greyscale/monochrome. • You are not allowed to enter a colour image and its monochrome version in the same salon. These are considered to be the same photo and only receive one award. (keep this in mind for Impala Trophy and Star Ratings)
Categories where digital manipulation is not allowed at all: Nature and Wildlife Photojournalism and Sport / Street Photography Manipulation is generally allowed in all other categories but read each Salon’s rules carefully. Nature
The Nature category may not contain any human elements, except where those human elements are integral parts of the nature story – such as nature subjects, like barn owls or storks, adapted to an environment modified by humans, or where those human elements are in situations depicting natural forces like hurricanes or tidal waves. Roads and pylons in the Kruger Park, for example, are allowed in nature, as long as they do not dominate the photo. Scientific bands, scientific tags or radio collars on wild animals are permissible in this category.
Wildlife
The Wildlife category is very strictly defined. It does NOT allow any manipulation and it does not allow any human elements to be present, apart from scientific bands, scientific tags or radio collars on wild animals. Wildlife images may also not be of animals contained in an enclosure such as farms and zoos, as well as domesticated animals, while those images can be entered in nature (provided no man-made objects are visible).
EPC Club rules conform to the PSSA guidelines. Club entries fall under the Pictorial or the Nature category. So, in summary, the EPC Rules and guidelines are:
Pictorial: Manipulation is allowed, but it must conform to the PSSA guidelines and all elements must be the photographic author’s original work. Nature: No manipulation is allowed, and no man-made objects may be present in the image. When entering salons, please read each salon brochure carefully as some categories will specify where manipulation is allowed or not – such as scapes and portraits, but this does differ from salon to salon. Keep this in mind when working on your images for club so that you know if they qualify for entry in salons. You are always welcome to discuss any aspects of photo processing and rules with any senior EPC club member for assistance. We’ll help you avoid the red card.
19 / MAY 2020
EPC-Scoring Explained BELOW FIND BELOW AN EXPLANATION ON OUR CURRENT SCORING METHOD
All of this still needs to be confirmed at our Special Meeting as soon as the Lockdown is over!! The scores attained by all club members, as of the first club meeting of 9th October 2019 (first club meeting for EPC year) until 22nd January 2020, have been retrofitted with all scores attained in the stated period following the new scoring and points system. The approach taken in retrofitting the five meetings prior to 12th February 2020 was to award points at the lowest level of each award range as follows: • • • • • •
COM = 13 Points Gold = 10 Points Silver = 7 Points Bronze = 4 Points No Award = 1 Point Club night winning images = 0 Points ( still to be discussed)
On 12th February 2020 onwards, the NEW club scoring system went live, and the previous meetings’ retrofitted scores were added to this club meeting and the above log is the net result. From February onwards, the club will have Set Subject evenings (4th Wednesday of each month), and only one image per member is allowed as entry. Images will be scored between the range of 1-15 Points and the results will count toward Club Log as well as Promotions Log. If anyone needs clarification or they have issues or concerns, please feel free to call Jorge Borralho at your discretion.
20 / MAY 2020
ONE STAR WINNER 13 May
Cape Coastline
Linda Carter
21 / MAY 2020
ONE STAR WINNER 13 May
Lock-down Amusement Linda Carter
22/ MAY 2020
TWO STAR WINNER 13 May
Getting ready for the day Tony Wilson
23 / MAY 2020 COMPOSITION 101
TWO STAR WINNER 13 May
Flare drop
Tony Wilson
24 / MAY 2020
THREE STAR WINNER 13 May
fish eagle
Augusto Dias
25 / MAY 2020
THREE STAR WINNER 13 May
Color crown
Caryn Wilson
26 / MAY 2020
FOUR STAR WINNER 13 May
Dew droplets
Christa Smith
27 / MAY 2020
FOUR STAR WINNER 13 May
Cape Town from above Clare Appleyard
28 / MAY 2020
FIVE & 5 STAR HONOURS WINNER
13 May
Mating Moves
Jorge Borralho
29 / MAY 2020
FIVE & 5 STAR HONOURS WINNER
13 May
The Last Dance
Vicki Street
30 / MAY 2020 MEMBER FOCUS Fabiola Geevan
Member FOCUS Fabiola G E E VA N I loved photography from an early age.
My Dad was a artist and he was taking pictures for his art(ideas for paintings). My brother loved photography too and did some work in Holland and worked in a photo processing firm for the royal family. My Dad being a photo-lithographer had his own business and I spent many hours developing my pictures and playing in the dark room at his business. My main focus was then memory photographs of the my family, my horses etc. Really only playing with pictures developing them etc. I always had my camera with me taking photos. I had a Minolta with 2 lenses, not sure what they were anymore as I was deprived of them when they were stolen. I the bought my first digital camera a “little muck and druk� Fuji which also had add on lenses. This too was stolen. Up to this stage I really only took photos of the family, horses, Horse shows with my daughter and Quad racing with my son. We spent a tremendous amount of time in nature reserves and KNP. This sparked an interest in learning a bit more about taking pictures. I got a Canon Sx 30 IS, I thought my pictures were wonderful.:) Anyway they are lovely memory photos My Hubby then got me my Nikon P 900. Loved it and could zoom into animals and had more lovely memory photographs, until my son, Kyle took the time and showed my what to do and about composition etc. Kyle had been doing photography quite some time and has an amazing eye for composition and pictures. Kyle bought Bianca her first camera so now we both started to enjoy taking pictures and looking at composition, light etc.
31 / MAY 2020 MEMBER FOCUS - FABIOLA GEEVAN My Nikon P 900 took me to were it could, and I now have spoilt myself with a second hand Canon D 7 Mark II. I have built up a selection of lenses and accessories. After joining our club I have learnt so much and there is so much more to learn. I was subjected to “editing”. This was a whole new world as I did not know after taking a picture you could do so much more to it by editing. I have just acquired the lightroom and photoshop so this is the next learning curb. The covid 19 has given me a chance to get to know my camera around the house and garden. So Camera wise I am now ready I think to face the wide world out there. Editing will take a bit more time I think. My aspirations, yes I would really love to focus on Macro photography and of course my wildlife. But I suppose if we go on holidays I will enjoy the complete spectrum. The photographer that inspires me the most is Joel Sartore. The wildlife he has had the opportunities to shoot is absolutely amazing, a dream come true.
I cant thank the club and the members enough for the inspiration, friendliness and always ready to help. You have all motivated me to accomplish so much more out of just “taking” photographs.
32/ MAY 2020
ONE STAR WINNER 27 May
Got Ya
Linda Carter
33 / MAY 2020
ONE STAR WINNER 27 May
Pastel Seascape
Linda Carter
34 / MAY 2020
TWO STAR WINNER 27 May
On the alert
Tony Wilson
35 / MAY 2020
TWO STAR WINNER 27 May
a Walk in the Forest
Andrew Mayes
36 / MAY 2020
THREE STAR WINNER 27 May
Zebra Fight
Brian Kleinwort
37 / MAY 2020
THREE STAR WINNER 27 May
Glass house
Kenneth Kubheka
38 / MAY 2020
FOUR STAR WINNER 27 May
Smoky Waters
Clare Appleyard
39 / MAY 2020
FOUR STAR WINNER 27 May
Firemans Prayer
Clare Appleyard
40 / MAY 2020
5* & 5 Star Honours Winners 27 May
Coot Portrait
Jorge Borralho
41 / MAY 2020
5* & 5 Star Honours Winners 27 May
Enjoying the view abstract Ted Kinsman
42 / MAY 2020
43 / MAY 2020
44 / MAY 2020
SPECIAL SUBJECT 13 May - WINNER
LIGHT
Morning awakening
John Coumbias
45 / MAY 2020
SPECIAL SUBJECT 27 May - WINNER
SELF PORTRAIT
Self Portrait
Natasha Bird
46 / MAY 2020
FOCUS ON VISITING JUDGE
Kittie
du Plessis (Groenewald) A friend and I decided in 2000 to go to Namaqualand, to see the flowers in spring. Both of us had never been to that part of the country. We saw a Kamieskroon photographic workshop advertised in the Getaway magazine and thought to join that, as “obviously they will know where the best flowers are.” I rushed out and bought my first camera – a secondhand Nikon 801. And boy-oh-boy, was that workshop presented by Freeman Patterson, Colla Swart and Wicus Leeuwner, an eye opener for me! Shortly after returning, I joined the Camera Club of Johannesburg at the recommendation of Rothea Olivier and Geoff Ortlepp, two participants of the workshop, and master photographers already. It was the combined exposure to all 5 of the above-mentioned photographers’ talents that created my own interest in Altered reality and Macro Abstract Photography. The creativity and breaking of rules by the artists then in - then in CCJ suited me perfectly well. You never knew what to expect from a meeting! Weird and wonderful was the norm. I would most dearly love to do beautiful landscapes, bird and people photography - but before I know it, I’m zooming in on the detail around me.
IMAGES BY KITTIE DU PLESSIS I call my style of macro photography “seeing the unseen”. When you use extension tubes, macro lens and magnifying lenses – sometimes all together to get a greater than 20:1 magnification you see things that you will never see with the naked eye. I use very little post processing, as coming from the slide era I still take my pictures as perfect as possible in camera. I love multiple exposures and occasionally add a filter to create something interesting to me. I do understand that abstract photography is not for everybody, but please just scroll past my images if you do not like them! I was one of the first batch of judges to complete the JAP course. I read extensively to be up to date with trends in all styles of photography even though I specialize in a specific genre.
On the dark side
Glowing
47 / MAY 2020
48/ MAY 2020
IMAGES BY KITTIE DU PLESSIS
Georgia o keefe
Abstract scape
IMAGES BY KITTIE DU PLESSIS
Impressionistic landscape
Phoenix rising
49 / MAY 2020
50 / MAY 2020
IMAGES BY KITTIE DU PLESSIS
Dawn abstract
Reflecting upon autumn Due to the National Lockdown our Photo Club meetings were suspended, Kitty did remote judging with comments. The Committee and members of Edenvale Photo Club want to take this oppertunity to thank Kitty for this sefless gesture and affording us her precious time.
SET SUBJECT Abstract photography is difficult to define. It is taking a subject and forcing the viewer to look at it in a different way. This may cause the subject to lose its original meaning or purpose. It may even render the subject unreal, abnormal and not of this world. The subject could lose all literal meaning and be reduced to only shape, light, texture or colour. Photographed items could be objects we use in our daily life. They could also be created entirely for the purpose of art.
What Is Abstract Photography?
Abstract photography is a very wide field of image capturing. Any subject can become abstract depending on the way it’s photographed. It takes creative imagination and concept to be able to capture subjects in an abstract way. You are only limited by your vision and ideas. Changing your usual perspective of the subject helps to create abstract images. Shooting from up-down could allow you to focus on its shape and form. This changes the subjects’ meaning and purpose. You could even create something from scratch. Photographing an item relying on your off-camera creativity. The best part of this area of photography, is there are no guidelines. There are no rules about composition or framing. It all comes down to you, your view and what you find interesting or beautiful. What you will discover from practicing this field, is the philosophy of subtraction. More often than not, what you leave out of the image is just as important as what you put in.
51 / MAY 2020
SET SUBJECT CALENDAR 10 June
ABSTRACT
24 June
SHADOWS
July
NIGHT LIGHTS
You are the composer in the creation of your abstractions. https://expertphotography.com/complete-guide-abstract-photography-112-tips/
Aug
TEXTURES
Sept
PEOPLE AT WORK
Oct
DOMESTIC ANIMALS
CUT OUT AND KEEP
52 / MAY 2020 A TRIP DOWN MEMORY LANE
Sharing Visual Art since 1950 This year is a very special year at Edenvale Photographic Club.... We are celebrating our 70th year of existence, we would love to publish relevant and interesting historical clippings and any news that has transpired over the past 70 years. Send any contributions to hanlis54@gmail.com
53 / MAY 2020
FOCUS Shane Else
Shane Else PSSA Regional Director - Eastern Gauteng
Like almost everyone my first camera was a kodak instamatic back in 70s..couldn’t really call that photography... just snapping moments in life...No thought to composition and the like.. Roll on 80s...Got married and Father in law was big into his photography..mostly nature..birds and Kruger..So bought my first DSLR a Rico Kr3 I think...which very quickly made way for a Pentax ME Super..which got stolen and I replaced it with A Pentax SFX, which I still have along with the lenses I acquired at that time... That was the real start of my photography..Shooting mainly Slides..I didn’t really do much with it then..didn’t have the kit or the money...Novaflex was the wildlife gear to have...So I made do with a 100-300 and a 500 F8 mirror lens...with max ISO in Colour of 200 and then wow along came ISO 400...Life changing.. Then Life happened and the camera gear was packed away.... 2013...And I buy myself a Nikon D90..and start dabbling again..and the hook grags. Now I need places to go take photos...look around..maybe I should join a camera club..so I joined Benoni Camera ...the rest is history..I was asked to join the Club Committee in 2015 and have been involved on the committee till today.. I have stuck with Nikon and my interests are Motorsport, Wildlife / Nature, Street, and now recently Macro... But I enjoy all forms of photography!
54 / MAY 2020 IMAGES BY Shane Else
55 / MAY 2020 IMAGES BY Shane Else
Images by: Shane Else PSSA-Regional Director - Eastern Gauteng Thank you for sharing these stunning images with us.