F CUS
MAY 2022
SHARING VISUAL ART
02 - MAY 2022 COVER STORY BY IAN COOPER The image was taken a few years ago whilst staying at Simbambili Lodge. We had tracked this Leopard, a feisty male who had taken down an Impala the night before. When we eventually found him, his kill was still in the tree but this male was on the ground. As we got closer to him, about 25m away he suddenly turned on the truck and hissed and spat at us, which is when I managed to get some great footage of him, he then turned and ascended his tree to get to his kill.
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
APRIL MAY - 03
DEAR MEMBERS Winter is here, we find it slows us down, we kind of hybernate and that is the beauty of the winter daytime outings. As you can see by the images from the Race track outing, a lot of fun was had while the sun was there to warm the members. Our club has had a tremendous growth over the last year and we can now bring back our member focus, so get yourself ready for when we request your mini bio and some of your best images to showcase in our magazine. We had a lovely chat to the PSSA 1st Vice President and National Director Simon Fletcher. He offers some great advice to club members, join the PSSA if you have not done so already- get your accreditation-be rewarded for all your hard work. Martin Barber was our judge on the 8th of June and he also echoes that sentiment, let us support the Association that gives our art purpose. Clare posted some lovely online tips and tutorials on flatlay photography and I put some tips in this newsletter, lets make this a bumper entry night. It is perfect for a winter time indoors photo project. Stay well.........and join us in person for club meetings; we had more zoomies than peeps this week.
Hanli Smit Editor & Chairperson
Hanli
04 - MAY 2022
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
MAY 2022 - 05
IN THIS ISSUE Page 6 Page 14
HISTORY OF PHOTOGRAPHY- “ REALISM IN PHOTOGRAPHY
11 May 2022- CLUB NIGHT WINNERS
Page 24
SALON CLOSING DATES 2022
Page 25
25 MAY 2022- CLUB NIGHT WINNERS
Page 39
MEMBER FOCUS- IAN COOPER
Page 42
TIMELESS BEAUTY-PHOTOGRAPHY MASTER CLASS
Page 49
ZOOMING IN ON PSSA- SIMON FLETCHER
Page 53
SET SUBJECT -FLATLAYS
Page 56
PHOTOGRAPHY EXHIBITIONS IN JOBURG
Page 58
EPC - OUTINGS - A NEED FOR SPEED
06 - MAY 2022
Source: Wikipedia
HISTORY OF PHOTOGRAPHY
Realism in Photography Photo-realism, also called Super-realism, American art movement that began in the 1960s, taking photography as its inspiration. Photo-realist painters created highly illusionistic images that referred not to nature but to the reproduced image How did photography impact the realism movement? Much like photography, Realism relied on precise details and imitations of perception without the alteration of them. Beginnings of Photorealism During the late 1950s and early 1960s in New York City, the dominant art movements advanced by artists, critics, and gallerists alike were Abstract Expressionism, followed by Pop art, then Minimalism. In the mid-1960s, a far smaller movement of individual artists producing realistic paintings related to photography began to practice their craft, also in New York. It would take over a decade for this movement to achieve any official and cohesive identity. In 1956, a recent graduate from the Art Institute of Chicago named Richard Estes, aged 24 at the time, relocated to New York City. In his student years Estes specialized in representational subject matter such as landscapes, and would regularly use his camera to shoot and develop photographs as visual aids. He continued this practice during the early 1960s when reinterpreting snapshots of his adopted city in paint. But unlike typical landscape or en plein air artists, Estes’ land- and cityscapes were executed with a heightened level of detail and lifelike accuracy. The results were accolades from his peers, and an artistic following which in turn led to more Photorealists, as the artists were soon called.
MAY 2022 - 07 Realism can be compared to Photo Journalism in Photography Realism rejects imaginative idealization in favour of a close observation of outward appearances. As such, realism in its broad sense has comprised many artistic currents in different civilizations.
Musée_Fabre by Gustave Courbet
The Stonebreakers by Gustave Courbet
Gleaners by Jean-François Millet
Broadly speaking, a photograph will always be more real than a painting, even a portrait, still life, or landscape painting, because it is a mechanically-produced image, rather than one first filtered through the human brain. Yet even photographs are not always exactly real. How did photography impact the realism movement? Much like photography, Realism relied on precise details and imitations of perception without the alteration of them The Realist movement began in the mid-19th century as a reaction to Romanticism and History painting. In favor of depictions of ‘real’ life, the Realist painters used common laborers, and ordinary people in ordinary surroundings engaged in real activities as subjects for their works. What is realism example? Realism is a representation of how things really are, or being practical and facing facts. An example of realism is the rejection of mythical beings Why is the understanding of realism important in creating style? Realism offers artists a starting point from which they can launch themselves into an infinite number of artistic styles
When you understand how to faithfully render what is in front of you in a way that expresses the reality of those objects, you can begin to bend and shift the realities into something more abstract Is realism a genre or style? Literary realism is a literary genre, part of the broader realism in arts, that attempts to represent subject-matter truthfully, avoiding speculative fiction and supernatural elements What are the aims of photorealism? Photorealism was an American art movement in which artists attempted to recreate the image in a photo using a different artistic medium such as drawing, pastels, painting, charcoal, etc. The primary goal of a photorealist was to capture the essence of the photo on canvas How did photograpy change art Photography democratised art by making it more portable, accessible and cheaper. For instance, as photographed portraits were far cheaper and easier to produce than painted portraits, portraits ceased to be the privilege of the well-off and, in a sense, became democratised How the Invention of Photography Changed Art Photography radically changed painting. It is popularly taken to have been invented in 1839, when Louis-Jacques-Mandé Daguerre burst onto the scene with his ‘daguerreotype’- world’s first commercial camera.
08 - MAY 2022 De Font- Reaulx noted that although the medium was immediately and enthusiastically embraced by the public at large, “photography gave rise to a new relationship to reality and its representation, which then boomeranged on its elder sister (painting).” The reproduction of art objects was also a key development in the use of photography. It had a profound effect on changing the visual culture of society and making art accessible to the general public, changing its perception, notion and knowledge of art, and appreciation of beauty. Photography democratised art by making it more portable, accessible and cheaper. For instance, as photographed portraits were far cheaper and easier to produce than painted portraits, portraits ceased to be the privilege of the well-off and, in a sense, became democratised. This also lead to a mild opposition against photography from upper class sections of the society who felt that it was cheapening art. That was what gave ‘kitsch’ its meaning: an attempt to reproduce massively and cheaply something artistic and unique. Baudelaire described photography as the “refuge of failed painters with too little talent”. In his view, art was derived from imagination, judgment and feeling but photography was mere reproduction which cheapened the products of the beautiful. Perhaps the greatest contribution which the new technique of photography could make to painting was to liberate Art from its ties to realism, to factuality. Until that point in history, painting relied on fixed subjects and was a process that took a certain amount of time to achieve the desired realistic result.
Although the great French poet and AuthorBaudelaire famously declared photography to be “the refuge of every would-be painter, every painter too ill-endowed or too lazy to complete his studies,” he posed before the camera several times. Speaking of photography Baudelaire said: “This industry, by invading the territories of art, has become art’s most mortal enemy.” And in his own terms of reference Baudelaire was half right; certainly the new medium could not satisfy old standards. The photographer must find new ways to make his meaning clear.
Charles Baudelaire circa 1862. Portrait by Étienne Carjat
MAY 2022 - 09 There was, ultimately, no need for the artist’s pencil or brush to labour intensively to depict and record people, occasions or things which the photographer could document through his lens with practical ease and speed.
Frank Hurley was deffinetly one of the forerunners of Photojournalism 15 Oct 1885-16Jan 1962
10 - MAY 2022 Since the invention of photography, Western painting’s branched into diverse new genres such as impressionism, expressionism, surrealism, cubism and more.In these and other ways, innovations in photography led to new artistic movements and challenged conventional notions about painting as the only form of art, a belief several art & culture hubs such as Pearey Lal Bhawan uphold. What is the focus of realism? Realism focused on the truthful treatment of the common, average, everyday life. Realism focuses on the immediate, the here and now, the specific actions and their verifiable consequences. Realism seeks a one-to-one relationship between representation and the subject. This form is also known as mimesis According to the Oxford Dictionary...... “imitative representation of the real world in art and literature.” James Francis “Frank” Hurley OBE (15 October 1885 – 16 January 1962) was an Australian photographer and adventurer. He participated in a number of expeditions to Antarctica and served as an official photographer with Australian forces during both world wars. His artistic style produced many memorable images. He also used staged scenes, composites and photographic manipulation. Frank Hurley was the third of five children to parents Jamieson and Margaret Hurley and was raised in Glebe, a suburb of Sydney, Australia. He ran away from home at the age of 13 to work on the Lithgow steel mill, returning home two years later to study at the local technical school and attend science lectures at the University of Sydney.
MAY 2022 - 11 When he was 17 he bought his first camera, a 15-shilling Kodak Box Brownie which he paid for at the rate of a shilling per week. He taught himself photography and set himself up in the postcard business, where he gained a reputation for putting himself in danger in order to produce stunning images, including placing himself in front of an oncoming train to capture it on film. Hurley married Antoinette Rosalind Leighton on 11 April 1918.The couple had four children: identical twin daughters, Adelie (later a press photographer) and Toni, one son, Frank, and youngest daughter Yvonne. In 1917, Hurley joined the Australian Imperial Force (AIF) as an honorary captain, and captured many stunning battlefield scenes during the Third Battle of Ypres. In keeping with his adventurous spirit, he took considerable risks to photograph his subjects, also producing many rare panoramic and colour photographs of the conflict. Hurley kept a diary from 1917 to 1918, chronicling his time as a war photographer. In it, he described his commitment “to illustrate to the public the things our fellows do and how war is conducted”, and his short-lived resignation in October 1917 when he was ordered not to produce composite images—a practice that was especially popular among professional photographers at the time and one that he believed could portray the disgust and horror that he felt during the war in such a way that his audience would feel it too. His period with the AIF ended in March 1918.
12 - MAY 2022 His motivation was to portray the disgust and horror that he felt during the war in such a way that his audience would feel it too. Some have considered the practice as an art form; others have argued that history demands the plain, simple truth. For the 1918 London exhibition, Australian War Pictures and Photographs, he employed composites for photomurals to convey drama of the war on a scale otherwise not possible using the technology available. This brought Hurley into conflict with the AIF on the grounds that montage diminished documentary value. He wrote that he would dress in civilian clothes and eavesdrop on soldiers who were visiting his exhibitions; he concluded that the composites were justified by the favourable comments they attracted. Charles Bean, official war historian, labelled Hurley’s composite images “fake”. Hurley again worked as an official photographer during the Second World War. He was employed by the Australian Department of Information as head of the Photographic Unit from September 1940 until early 1943, based in Cairo. He took the only film of the initial victory against the Italians at Sidi Barrani in December 1940, which was given to Cinesound and Movietone News for global release. He also covered the battle of Bardia and the Siege of Tobruk in 1941, and both of the battles at El Alamein in 1942. Several volumes of his War Diaries cover this period.
MAY 2022 - 13
images below: A composite image created by Hurley and two of the photographs on which it was based. His motivation was to portray the disgust and horror that he felt during the war in such a way that his audience would feel it too. Some have considered the practice as an art form; others have argued that history demands the plain, simple truth.
14 - MAY 2022
ONE STAR NATURE WINNER 11 May 2022
LBJ Wading
Brian Shaw
MAY 2022 -15
ONE STAR PICTORIAL WINNER 11 May 2022
Downtown Squalor and Cattle Egret No One Cares Peter Shaw Fine Brian
16 - MAY 2022
ONE STAR CELLPHONE WINNER 11 May 2022
Big Wheel
Jana Botha
MAY 2022 - 17
TWO STAR PICTORIAL WINNER 11 May 2022
HB Sunset
Brian Abrahams
18 - APRIL 2022
THREE STAR NATURE WINNER 11 May 2022
Big eyes
Tony Wilson
APRIL 2022 - 19
THREE STAR PICTORIAL WINNER 11 May 2022
Going Home
Linda Carter
20 - MAY 2022
FOUR STAR NATURE WINNER 11 May 2022
Splash
Des Alexander
MAY 2022 - 21
FOUR STAR PICTORIAL WINNER 11 May 2022
Taking it Easy Stephen Kangisser
22 - MAY 2022
5* & 5 Star Honours NATURE WINNER 11 May l 2022
I Can Eat You Ian Cooper
MAY 2022 - 23
5* & 5 Star Honours PICTORIAL WINNER 11 May 2022
Full Speed Assault
Gary Andrew Peck
24 - MAY 2022
Closing dates for upcoming Salons 2022 find the information brochures on the PSSA website 2022-07-02 Witzenberg Photographic Society 2nd PDI & Print Salon 2022 (Brochure available) 2022-07-16 Kosmos National PDI Salon 2022-07-30 Bloemfontein National Digital Salon (Brochure available) 2022-08-13 PPS National PDI Salon (Brochure available) 2022-08-27 7th Bosveld Fotografieklub Salon (Brochure available) 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 2022-10-09 Danube Autumn Circuit 2022 (Edenvale Photographic Club) 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 2022-11-12 7th Centurion Camera Club Digital Salon 2022-11-19 2nd SANParks Honorary Rangers: Free State Region Nature Only PDI Salon
MAY 2022 - 25
ONE STAR CELLPHONE WINNER 25 May 2022
Cape Town Fish Market Kenneth Mukute
26 - MAY 2022
ONE STAR NATURE WINNER 25 May 2022
Gigantic Walk
Kenneth Mukute
MAY 2022 - 27
ONE STAR PICTORIAL WINNER 25 May 2022
Light Shower
Brian Shaw
28 - MAY 2022
TWO STAR NATURE WINNER 25 May 2022
Umbrella bird Peter Fine
MAY 2022 - 29
TWO STAR PICTORIAL WINNER 25 May 2022
Mans best friend Peter Fine
30 - MAY 2022
THREE STAR NATURE WINNER 25 May 2022
Two Rhinos
Linda Carter
MAY 2022 - 31
THREE STAR PICTORIAL WINNER 25 May 2022
fun on the beach
Fabiola Grant
32 - MAY 2022
THREE STAR CELLPHONE WINNER 25 May 2022
Full Bloom
Debra Russell
MAY 2022 - 33
FOUR STAR NATURE WINNER 25 May 2022
Iconic Portrait at Night
Stephen
Kangisser
34 - MAY 2022
FOUR STAR PICTORIAL WINNER 25 May 2022
Portrait of Angel
Stephen
Kangisser
MAY 2022 - 35
5* & 5 Star Honours Cellphone WINNER 25 May 2022
Sunrise1382
Vadivelu TT
36 - MAY 2022
5* & 5 Star Honours NATURE WINNER 25 May 2022
Big enough
Dino Bottega
MAY 2022 - 37
5* & 5 Star Honours PICTORIAL WINNER 25 May 2022
Black lace affair
Hanli Smit
38 - MAY 2022
SET SUBJECT WINNER
25 May 2022
Two Jars
Sonja Olivier
MAY 2022 - 39
Images by Ian Cooper
MEMBER
FOCUS IAN COOPER
I am originally from Zambia but was schooled here in South Africa at Kingswood College in Grahamstown. From a very early age when I was gifted my first camera, a 35mm Kodak Instamatic, I fell in love with sunsets and wildlife photography. It was only in 2007 when I was still in the corporate world that I won a Nikon D80 camera with two lenses, that I decided to take up a part time course and did the basics of photography part time. After completing 2 lessons of the course I had already enrolled in every course that was offered by the College and by September 2009 I had left the corporate world to pursue a full time professional career in Professional Photography
40 - MAY 2022 I have travelled the world with my photography and captured moments in Dubai, Italy, Mozambique, Mauritius, Botswana, Zambia, Greece, Netherlands, Spain, Australia and the UK to name but a few of the countries I have visited and i have also captured events, weddings and moments across our beautiful and diverse country on assignment or for myself. I have had images published in jewellery editions in the United States as well as various magazines here in South Africa. I also owned the College of Digital Photography in Fourways for 5 years and sold it in September 2018 after receiving a good offer. I have taught all levels of photography from the basics right up to the specialist genres. My speciality genre definitely lies in Nature and Wildlife photography as well as Travel and Photojournalism, however I have a very deep desire and love for Fine Art photography and love doing something extremely different (even with the help of Photoshop).
Images by Ian Cooper I shoot with Nikon and my bag consists mainly of Nikon D3’s, a converted Infrared camera and my go-to lenses are the AFS Nikor 24-70mm and 70-200mm. I also have the AFS 105mm Macro, AFS 16-35mm for architecture and sky photography as well as the 10mm Fish Eye. I have as many as 8 speed lights as I am a great believer in off camera creative lighting techniques and one of the photographers whom I follow and enjoy is Joe McNally.
To date the only goal I have not reached with my photography is having one of my images being published in National Geographic, otherwise personally, I feel I have reached the majority of my goals and currently simply enjoy my photography as a hobby and passion rather than a source of income. Ian Cooper Mobile: 083 647 8888 Email: iwc@iafrica.com Instagram: https://www.instagram.com/ iancooperphotography/
Images by Ian Cooper
MAY 2022 - 41
42 - MAY 2022
TIMELESS BEAUTY PHOTOGRAPHING WOMEN OVER 70 There’s definitely something to be said about letting yourself be vulnerable enough to step in front of a camera for a photo shoot. For women, especially women over a certain age, the ability to tear down your own walls and allow yourself to feel beautiful is a challenge. So many women are mothers, caretakers, homemakers, busy entrepreneurs, and so much more. Sometimes, all these women need is a little nudge to do a beauty session for themselves. I had the honor of photographing my mother-in-law, Terri Cincotta, last week. While it may have taken more than just a little nudge (see the text message thread below), I am glad I strong-armed her into doing this shoot because now my husband and I have these images to cherish for the rest of our lives. When Sal and I saw the first image come back from retouching (I send my images to Evolve Edits, evolveedits.com, for all my post-production work), we both got choked up. I knew this was going to be an incredible experience for Terri, but I had no idea the impact it was going to have on me and Sal. I am so thankful to have these images.
MAY 2022 - 43 So, how did the planning process go? For starters, Terri has a nickname, TTG (Terri Tough Guy). She talks a big game. And talks a lot of trash. She’s a New Yorker, what do you expect? She had been talking trash to Sal about how he photographs all these other people, but she wanted her portrait taken. Well, I ran with it. I wanted to dial in my lighting skills a little more and wanted to push myself outside of my own comfort zone with the setups and styles I’ve always gravitated towards (ahem, natural light). I started the whole process on a Monday for a shoot the following Saturday. This is proof that you don’t need 30+ days to plan a photo shoot. It’s all about using stuff you already have and getting creative (or ordering from Amazon Prime at the 11th hour and praying it arrives on time). I did a little bit of both for this shoot. Wardrobe & styling. When I am planning stylized shoots, I make sure to personalize every detail to my subject. Skin tones and color schemes are my starting point. Terri is Lebanese and has a gorgeous olive skin tone. Knowing olive skin tones typically look good with any color, I had a lot of freedom here. The only color you want to steer away from with olive tones is silver—it tends to clash with the warmth of the skin. Instead, I went with gold to enhance the warmth.
44 - MAY 2022 I find that 3 looks are perfect for an in-studio portrait session. It gives you enough opportunity to deliver a variety of looks while allowing you to complete a full session in 2 hours or less. These were the three colors I decided on: Olive green, gold, and powder blue (this one is my favorite color on Terri). Knowing the colors, I began my hunt for wardrobe on Amazon. We have a never-ending stash of jewelry I’ve been building over the last few years, so I didn’t need to buy any of that. I went into my search knowing I wanted three styles: Romantic & feminine with florals, confident and powerful glam, and a soft and sweet everyday look for the third. Hair and makeup. I say this every time I do a shoot: Thank you, Jesus, for bringing Brandi Patton into our lives. Brandi is our go-to hair and makeup artist and a personal friend. She always understands what I am looking for, even when I don’t use English words to explain my thoughts. When it comes to women over 50, you want to be very careful with the hair and makeup. Less is definitely more. Keep foundation on the dewy side vs. matte. Matte makeup and heavy powder tend to settle in to creases and enhance the look of wrinkles (why would anyone want that?). Keep eyeliner to a minimum and go with styles that give the appearance of an eye lift like a slight wing and eyeshadow done in an upward angle. Avoid undereye eyeliner and mascara completely if possible.
Blush and contour should be slightly heavier than normal, and I recommend a lip color that can be seen, but not too dark as dark lip colors tend to make lips look smaller than they really are. Here is what I sent to Brandi for inspiration. I trust her with everything she does, so I try not to be too heavy-handed when it comes to sending her inspiration. I like to let her do her thing, she always amazes me. Look #1: Romantic Florals For our first set of shots, I started with the romantic and feminine robe shot with florals (my signature shot). This series of images I like to do right out of hair and makeup because everything is perfect. The hair is curled exactly how I want it to blow in the wind, makeup is flawless, and there’s a level of nervousness going into the first scene that gives women a look of innocence in their eyes. I don’t know what it is, but it works. Pro tip: Have mimosas during hair and makeup, but don’t let your subject have more than 2 glasses before getting in front of the camera. While it’s nice to get them loosened up a bit, you run the risk of droopy and red eyes, and expressions that don’t match what they really look like. I did my typical lighting setup for this scene: One single continuous light with a softbox. I love using the Westcott Solix with the 2×3 softbox for this look
By placing the light close to my subject, I was able to create a nice, soft light that evenly lit my subject and the flowers she was holding, while providing nice fall-off behind her to showcase the green of the background without having to add a second light. I used the Noelle Mirabella backdrop from Intuition Backgrounds in their fabric material for this shot. This is everything I bought from Amazon for this shoot: Robe | Pink foreground flowers | Orchids held I used a Manfrotto Nano Stand, clamped the smaller pink flowers to the top with a backdrop clamp, and placed the stand directly in front of my lens to shoot through the flowers. You’ll need to maneuver either your body or the flowers around a bit to create a natural gap in the florals for you to shoot through. Adding an element like this is a great way to frame your subject and add a pop of color without having to do an elaborate set design. I took a few test shots to make sure I liked the power and direction of light, then I started working with Terri on her expression. There is minimal movement needed from your subject in a shot like this, but expression will make or break your shot. I then added a box fan to get some movement in her hair—this always adds to the romantic feel of the image along with all of the other elements together.
MAY 2022 - 45 Look #2: Powerful & Confident Glam For the next look, I wanted to glam Terri up and make her feel like the strong, powerhouse she is. I have a black and gold Louis Vuitton scarf she always compliments and was just gifted a gorgeous pair of black and gold crystal earrings from Mark Ross that I knew would go perfectly for this look. I needed a simple, form-fitted black dress for this shoot. On Amazon, I ordered a basic black dress and sized up so I would be able to clamp her into the dress and not run the risk of it arriving and being too small. The lighting here got a lot more complex. I started by getting the main light dialed in on Terri’s face. For the main light, I used a Westcott FJ400 with the Westcott Rapid Box Switch Octa-M softbox. I placed the light high and angled down slightly and used the Westcott Eyelighter to fill in the shadows being created by the directional light above. Because I chose a backdrop that matched the colors of the wardrobe, I needed an edge light to separate Terri from the background. I used the FJ200 with the basic reflector that comes with it, no additional modifiers for this, at a power of 1.5. This created a nice highlight along the left side of her body and hair (her left, camera right). I used the Buffalo Bill backdrop from Intuition Backgrounds in their fabric material again for this shoot and chose to NOT light the background for this one because it would have been too orange in contrast with the subtle gold of the scarf. By not adding light to the background, it allowed it to become darker and not so distracting. I also had Evolve tone the background to blend better with the gold tones in the scarf.
46 - MAY 2022 For these photos, I wanted to showcase her personality a little more so it was all about getting her to really laugh and loosen up, not so much about having a soft and romantic expression—that just wouldn’t work with this look. Fake smiles are always so obvious in photos, so figure out ways to make your subject really laugh and you’ll capture some great expressions while they’re laughing, and their smile will be real after the laughing calms down a bit. Pro tip: Make sure you take behind the scenes of every shot. We all got so caught up in the 2nd outfit we forgot to take pictures of the setup! Final Images from Look 2 For the next look, I wanted to glam Terri up and make her feel like the strong, powerhouse she is. I have a black and gold Louis Vuitton scarf she always compliments and was just gifted a gorgeous pair of black and gold crystal earrings from Mark Ross that I knew would go perfectly for this look. I needed a simple, form-fitted black dress for this shoot. On Amazon, I ordered a basic black dress and sized up so I would be able to clamp her into the dress and not run the risk of it arriving and being too small.
The lighting here got a lot more complex. I started by getting the main light dialed in on Terri’s face. For the main light, I used a Westcott FJ400 with the Westcott Rapid Box Switch Octa-M softbox. I placed the light high and angled down slightly and used the Westcott Eyelighter to fill in the shadows being created by the directional light above. Because I chose a backdrop that matched the colors of the wardrobe, I needed an edge light to separate Terri from the background. I used the FJ200 with the basic reflector that comes with it, no additional modifiers for this, at a power of 1.5. This created a nice highlight along the left side of her body and hair (her left, camera right). I used the Buffalo Bill backdrop from Intuition Backgrounds in their fabric material again for this shoot and chose to NOT light the background for this one because it would have been too orange in contrast with the subtle gold of the scarf. By not adding light to the background, it allowed it to become darker and not so distracting. I also had Evolve tone the background to blend better with the gold tones in the scarf. For these photos, I wanted to showcase her personality a little more so it was all about getting her to really laugh and loosen up, not so much about having a soft and romantic expression—that just wouldn’t work with this look. Fake smiles are always so obvious in photos, so figure out ways to make your subject really laugh and you’ll capture some great expressions while they’re laughing, and their smile will be real after the laughing calms down a bit. Look #3: Soft and Sweet Mom Who doesn’t want photos of themselves in a more natural, everyday look?
Most females love having pictures where they’re all glammed up and fully stylized in clothes they would never pick themselves, but I believe that every shoot should have one outfit where they really feel like themselves. I like to end with this style because my subject is very warmed up on camera at this point and I can usually get the most realistic and natural expressions out of them at this stage of the shoot. The powder blue sweater I also bought on Amazon and intentionally sized up because I wanted the look of her cozied up in a chair where she just exuded comfort—in her expression, in her pose, in her wardrobe. Powder blue is my absolute favorite color on her. It brings out such a softness in her and I was so excited to photograph her in this outfit. The long crystal and pearl earrings were part of our jewelry collection already, and I added those in at the last minute. Those were a perfect touch! For the lighting here, I did two different looks: I started with strobes and ended with natural light so I could add in some prism work (you don’t get the same effect with prisms when you’re shooing with strobe). For the strobes, I kept the Westcott FJ400 as my main light with the Westcott Rapid Box Switch Octa-M and had it positioned directionally camera right, above her and tilted down slightly. I had Terri sitting in a wingback chair with her body facing the light camera right and face square at camera. I needed to fill in the shadows again being created by the FJ400 so I moved the Eyelighter to a shorter light stand and placed that under the FJ400. I kept the FJ200 as my edge light to separate her off the chair.
MAY 2022 - 47
https://www.behindtheshutter.com/timeless-beauty-photographing-women-over-70/ Copyright (C) 2022 Behind the Shutter. All rights reserved. with permission from Salvatore Cincotta
48 - MAY 2022 This time I also added the Westcott FJ80 on a Nano Stand directly behind Terri
Article with permission from Shutter Magazine.com
Final thoughts. Photographing women at any age is such a fun job. We
aimed at the backdrop to re-
get to make women feel beautiful and see a smile on
ally make the blue tones pop
their face that is truly priceless.
and create a vignette around my subject. or this backdrop,
There are three important things to note when photo-
I switched to the Poseidon
graphing women over 70:
from Intuition Backgrounds
1.
in their fabric material as
Go easy on the makeup. You want to enhance
well. These fabric drops are
their natural beauty, not turn them into someone they
extremely simple to swap
are not.
out when you don’t have a
2.
lot of hands on set and need
Styling should be feminine and soft, still conser-
to move quickly. They are
vative. These types of beauty portraits are supposed to
also very easy to store—just
be about your subject, wardrobe should complement
fold them up and put them on a shelf. They will get wrin-
your subject, not distract from their experience and
kled this way, but I find that
final images.
they are extremely easy to
3.
steam out and when I don’t have time for that, I just have
Lighting is so important. Don’t create harsh light
on 70+ skin. Learn and understand beauty lighting to
Evolve add a texture to the
soften wrinkles in-camera, and short light to create
background in post-produc-
shadows in all the right places.
tion to get rid of the wrinkles. Once I got the shots I wanted
I hope this article helps give you some inspiration to
in the chair, I moved Terri to
get out there and practice with your family members. If
apple crates again and took a few shots with strobes, then
nothing else, it will be a great way for YOU to get imag-
got rid of all artificial light. I
es of your mother, sister, aunt, whomever. Images that
added the Lensbaby prisms
you and your family can cherish forever. And at the end
from the OMNI Deluxe Collection II to have a little fun by adding another unique element to the scene. Final Images from Look 3 Settings: f1.4 @ ISO 50, 1/200th
of the day, here’s what really matters: you get to make someone feel special for the day. Article by Salvatore Cincotta photographing her mother inlaw Terri Cincotta
https://www.behindtheshutter.com/timeless-beauty-photographing-women-over-70/
MAY 2022 - 49
Zooming in on the PSSA: SIMON FLETCHER 1st Vice President and National Director Simon Fletcher APSSA, DPSSA(Vers), EPSSA(Cls), AFIAP I had the oppertunity to chat with Simon Fletcher the 1st Vice President and National Director of the PSSA. The following questions had very complex but interesting answers. 1.The most frequently asked question by most club members is…Why must I join the PSSA ?, how would you answer it ? You really don’t hold back now do you Hanli! But an important and relevant question. I thought about this and would answer you as follows: imagine if there was no PSSA. What would the amateur photographic landscape then look like? Well, let me share my point of view. Each and every photographic club would most probably still exist but the guidelines and the structures that PSSA provides for the sharing of information, arranging of regional and national competitions, the annual congress and links to other clubs within the region, outside judges for club evenings or even within South Africa, would be at best limited. The guidelines that PSSA provides to its affiliated clubs helps create structure, organization and a sense of belonging to something that provides meaning, standardisation and reference in pursuit of this
wonderful hobby we all love. The system like PVO, the scoring matrix / sliding scales (oops I stood on a landmine there!), recommended promotional criteria, communication via the PSSA website and the JAP courses are some of the great work and systems that the Photographic Society of South Africa is able to provide to its affiliated clubs. Of course, PSSA would not be needed if there were no photographic clubs. PSSA really provides a structure that represents the interests of its affiliated clubs to a common purpose of promoting the art and love of photography by providing various platforms and structures to the benefit of the individual amateur photographer. The salon scene that many of us participate in – that would not be available for all members to enter and participate in this national competition (Impala Trophy). Here the task is huge and PSSA provides the structures, environment and admin that enables this competition to be managed so that members can get a sense of the work against other like-minded entrants and push themselves to get awards like COM’s and Medals Also this is generally a requirement to move up star rankings through the promotion criteria of each club. The diamond ratings would also not be available to its members and the other related photographic honours. As far as photographic honours is concerned, this would
also not exist without PSSA. This is another important offering of PSSA. PSSA provides the system, judges and a stringent standard by which any PSSA member can apply for his or hers honours and know that when it is awarded to that photographer, you can know that it was worth it. The Honours Judges sacrifice an entire weekend twice a year (at their own expense and time) to judge each and every panel that is submitted to ensure that the standard is upheld and that each entrant’s panel has a fair chance of being evaluated. Then I have not mentioned the administration behind the scenes in order to get the judging arranged and completed and consolidate the results, notify entrants of the results and feedback etc. etc.
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This is then culminated each year by the issuing out of the stunning Honours Magazine to all the PSSA Members that the head of Honours Jill Sneesby produces! I really think that when you reflect back on these few aspects, you realise that PSSA is doing a lot for its affiliated clubs and members (and mostly behind the scenes work that is not noticed) in order to promote amateur photography and provide a structure for all of us to enjoy, compete, grow, learn, meet like-minded people and enjoy this wonderful hobby of ours. 2.Where do you see the Association in 5 to 10 years from now? Another tough question Hanli! PSSA needs to remain relevant to its affiliated clubs and most importantly the individual members. Change is ever present and PSSA needs to reflect that change and move with the times. Getting young blood into the amateur photography scene is important to ensure membership remains strong. As we all know, the median age of PSSA members is generally on the high side and this hobby can cost a lot of money and time, which is something young people generally don’t have. So the Youth aspect is important and each one of us should be an advocate to get younger people to join our clubs and assist them with their growth in photography.
Also PSSA needs to have a compass check every now and again, to ensure that it remains relevant and on mark for its members. Changes in technology, DSLR to mirrorless, cell phones etc. are all important but the basics remain the basics – we need to make sure we do these well and tweak them to enhance the experience. As Martin Barber always advocates when he does his talks, and borrowed from Winston Churchill is, “Not ask what your club or PSSA does for you, but what you do for your club or PSSA”. This is a different view but an important one. Each photographer should think about this and think about it quite seriously. Many of us are putting back into photography that has given us so much and my goodness, how rewarding is that! To see people grow, get excited when a complex concept is explained and then understood, or when the photographer gets the first COM or Medal in a salon, or they receive their photographic honours!
3.As the PSSA vice President what do you think “we” the clubs can do to promote the association?
Be honest always. Talk from the heart. PSSA not perfect, but let me tell you, the people on the board, divisional heads and support staff are 100% committed and working hard behind the scenes to have a Society that is relevant and provides guidance to its affiliated clubs. I do think that it’s a careful balance about promoting PSSA – you don’t want to force it down everyone’s throat but increasing member’s awareness on PSSA is important. Onboarding of new members (and dare I say it, some seniors too) is important from an orientation perspective. Remember when you joined your club – it was daunting and then getting to learn and understand your camera and its settings to get the basics right! A nightmare. So striking the balance is We are all in this together and we important. Only once people should all first think before we understand what PSSA repwant to complain about something resents and what happens be– think of Winston Churchill’s hind the scenes, will people’s statement and if you are already attitude towards PSSA change doing you best and are involved, for the better. There are three then by all means direct your elements leading up to undercomplaints to us and I think having standing on any subject. The a solution to the issue goes a long first being Affinity (defined as way in enabling us to address the the degree of closeness) – if complaint. This is your Society and you like something or somewe want it to be something that one its obvious in your actions you can be proud of and actively as is the opposite. support.
MAY 2022 - 51 Reality being the second element to understanding, which is where people’s perceptions are regarding a subject – your perception and my perception of PSSA could be vastly differ, hence a reality gap exists. Lasting through Communication (verbal or written or non-verbal) talking about a subject, you start to find Affinity and Reality – once these come together you have understanding. So Hanli, you are doing a fantastic job at this. You are a beacon of light and example to the rest of us on how do we improve our understanding of PSSA. You have asked various PSSA board members to answer your tough questions in pursuit of creating understanding for your club members – well done and I commend you for this! You are getting the different viewpoints and increasing everyone’s awareness in this process and ultimately its each person’s choice to make up his / her mind up on PSSA – hopefully through a balanced perspective. 4.We also asked Martin this question and we got a very interesting answer….Do you think photography is dead ? Is the cellphone and the “Instagram photographer” killing photography as we know it? Talk about being placed on the spot. Martin always has interesting views and he is my Mentor, so tough situation now!
Photography is certainly not dead! In fact I recall a talk of Martin where he threw out an interesting number of how many photos are uploaded each day to the web. Mind blowing – I first want to Google this before I continue ……. Ok interesting result. So in 2020 an average of 3.2 billion images and 720,000 hours of video are shared every day! So the art of taking photos remains and a beautiful image remains a beautiful image! I think cellphones have enable this phenomena as the tech is just brilliant and they do both stills and video rather well. And guess what, every one of us has a cellphone and its with us all of the time. And we all know what is best camera? It’s the one you have with you! Opportunities to take photos with a cellphone outstrip those of the DSLR and Mirrorless camera. The quality of the cellphone’s images is getting better and better after each new launch, and I do think camera manufacturers have to lift their game as there is a real possibility that the equipment we know, will become less relevant. Then when we look at the young folk, this is what they have and will continue to drive this tech. Remember change, its real and the cellphone is or has revolutionized the world and photography – some clubs now have a cellphone category and I think that is relevant. So I don’t think cellphone or the Instagram photographer is killing photography – I think it’s giving another possibility to share photos and create content, but that which we do for club photography and salons competitions, the art remains the art as do the basics!
5.Are the clubs growing or dying? We seem to be growing with 17 new members since November last year and yet we hear other clubs are struggling? Wow Hanli – your club is clearly doing something right! You seem to have a club recipe that works and I am led to believe this magazine of yours from Edenvale is just tops. I think after Covid, many people’s lives have changed and not for the better! Its not business as usual. Many people have lost loved ones and have also lost their ability to earn an income. This has placed severe pressure on households. So what do you do, you cut away expenses and generally the non-essentials are removed quickly. Zoom and Teams have also brough a different dimension to club evenings which I think should be leveraged to enhance the experience of club. So on average I think club membership remains a challenge and each an d everyone of us involved in club management needs to keep those members at club by providing an environment that is encouraging and relevant to our members whilst trying to attract new members. This is in the current environment is difficult but not impossible as Edenvale has shown – well done!
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6. What have you personally gained from your association with photo clubs and the PSSA?
Many things when I reflect back on it. It really started when I met Martin at the Southern Gauteng Regional Congress. A lot of what I have learnt and know in photography has been to his credit. He is a truly wonderful human being where he always shares his knowledge and just listening to him, there are always some diamonds in what he is saying. I was introduced to Rustenburg Photographic Society by my very good friend Christo Myburgh and I have never looked back. I look at my photos when I started and I cringe now! Then I thought they were really good – nah not so!! So I listened to judges and progressively got better by addressing the critiques from the judges.
Then through another very good friend Dereck Du Preez I met Martin and joined Southern Suburbs Camera Club. Well well well. Talk about intimidation.
The class of the senior photographers there is something else.Here the exposure to different genres was an attitude adjustment and then one had to lift your game. Both clubs have been wonderful to me – meeting like-minded people, making friends and sharing the love for photography is simply amazing! The shoots are always fun and learning from others is always such an inspiration. And then for all my sins, Martin asked me to create a spreadsheet to track his results in the Impala Trophy as he was chasing the number 1 position. Well needless to say I am the person behind all the results you see each month on the Impala Trophy. A blessing or a curse? I think a blessing despite the hours and effort that goes into the log, I think over the years we have managed to enhance that experience and create some excitement in the Impala Trophy. So I have been encouraged by MM (Magic Martin) to do my PSSA Honours which I have now done and achieved my APSSA. Entering International Salons also is a part of my routine and I have also gained my AFIAP and working on the next level. Developing an understanding of how all these things hang together was also part of the learning and sharing at the clubs. A lot of the time, people in clubs think that the club scene is the only thing, when in reality there is a whole world out there! This I have leant from specific photographers and PSSA and that has landed me where I am today for which I am eternally grateful. Putting back into photography is rewarding and part of the journey. I recommend it to any photographer who is prepared to stand up and be counted.
Be part of your club and PSSA and immerse yourself in it – it’s a wonderful and rewarding journey!
MAY 2022 - 53
SET SUBJECT THEMES 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 You’re seeing them everywhere. Flatlays are highly engaging Instagram content and you’re wondering if this is something you could be creating too. So how do you start? Or maybe you’ve tried to shoot a few flatlays, but they just weren’t coming together and you don’t know what went wrong. I’ve got good news for you friends: making great flatlays is easier than you think. It’s actually a lot of fun and who doesn’t want more of that? STEP 1: KNOW THE WHY BEHIND YOUR FLATLAYS Strong flatlays always start with being clear on your why. What are you trying to accomplish with your flatlay? Are you sharing a new product? Are you showing how your service or product can fit into your customer’s life? What’s the story you’re sharing with your flatlay? Your why is the foundation of your flatlay and all the decisions you make when creating it should be based on your why.
STEP 2: CHOOSE A CLEAN BACKGROUND Clean, uncluttered backgrounds are the best and easiest way to give your flatlay more impact. Avoid busy patterns or bold coloured backgrounds because they’re distracting and compete with the objects in your flatlay. You probably already have tons of great background options lying around your home. White bed sheets, wood tables, neutral coloured floors, and marble countertops are popular because they’re clean and readily available. Light coloured craft paper from your local office supply shop is another easy background idea. The key is to choose a background that can act as a blank canvas. STEP 3: LIGHT YOUR FLATLAY Natural light is the best way to light your flatlays when you’re starting out. It’s free and available everywhere. The best natural light is next to a window on the shady side of your house or outside in the shade. The key is to avoid direct rays of sunshine so you don’t get harsh shadows and extreme contrast in your image.
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STEP 4: PLACE YOUR HERO PRODUCT Most flatlays have a hero product. It’s often the product you’re trying to sell. If your flatlay is about your service, then maybe the hero of your story is your laptop or a calendar. Start styling your flatlay by placing your hero product first and then adding the other major elements. So if your hero is a laptop, the other major elements might be a cup of tea and a notebook. Play around with how your hero relates to the other major elements in your composition. Together they’ll act as the framework for the smaller, more detailed props. STEP 5: PLACE YOUR SECONDARY PROPS If your hero product is the star of your flatlay, then the secondary props are the supporting characters and extras in your story. Choose props that
support your story by adding context to your hero product without stealing the limelight. So if your hero is your laptop, then your supporting props could be a pen, reading glasses, paper clips, and a watch. Place your secondary props around the major elements of your flatlay to fill in the gaps. Play around with their position and angle to see how they best fit into the overall composition. The idea is to balance the spacing of your props in your flatlay so your details don’t overwhelm your hero product STEP 6: STICK TO A SIMPLE COLOUR PALETTE It helps to stick to a colour palette when choosing your secondary props. That way your props will blend into the background and not jump out to grab the attention. If you’re new to working with colour palettes, stick to only 2-3 colours that go well together. As an added tip: black and white are neutral shades that go well with any colour palette so you can’t go wrong with black or white props.
STEP 7: SHOOT YOUR FLATLAY Flatlays are shot from a bird’s eye view so hold your camera directly above the middle of your flatlay. Stand on a chair or ladder if you need to get higher. The goal is to get your camera parallel to your flatlay so the lens is aimed straight down. If you’re using a camera phone, use the square crop mode and turn on your grid to help line up your shot. Once you’ve got your shot, try shooting a few variations for bonus content. If you’ve spent valuable time and effort to style the perfect flatlay, get more bang for your buck by getting more shots. Shoot your flatlay from a different angle, use a different crop, or swap out a few key props for new ones.Changing my angle and moving some props gave me an easy second photo from one flatlay
MAY 2022 - 55 I also like to snap some behind the scenes photos to share with my audience. The more content you can get, the better! STEP 8: EDIT YOUR FLATLAY FOR INSTAGRAM All images benefit from some post-shoot editing. There are some fantastic photo apps you can use to edit your images right on your phone. My current favourites are VSCO, Snapseed, and the editing tools native in Instagram itself. Tweaking the crop, exposure, contrast, saturation, and clarity are the easiest ways to make your flatlays really pop. Play around with the different tools and filters to get the right finish for your vision. Just like any skill, the more you practice making flatlays, the better you’ll become. There’s really no right or wrong way in photography, so use these steps only as a guide. Once you get more comfortable with how you like to build your flatlays, experiment with new methods and ideas. Overtime, you’ll develop a look and feel to your work based on how you like to prop, light, and edit your images, which will create your own distinct flatlay style.
http://www.vamp.me/blog/ how-to-make-flatlays-for-beginners/
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Be captured by these three photography events in Joburg this June
Photographers in South Africa are engaging and experimenting in exciting topics to shift our undertsanding of photography in today’s world. Here are three photography events doing just that in Joburg this month that we recommend you check out. Ukuzihlukanisa: Solo exhibition by Mpumelelo Buthelezi Join the artist on Saturday June 18 at 11:00 for a walkabout. On show at Bag Factory until June 30 Ukuzihlukanisa: Solo exhibition by Mpumelelo Buthelezi Mpumelelo Buthelezi’s solo exhibition Ukuzihlukanisa at The Bag Factory Artist Studios explores ideas of self-reflection, identity, and spirituality through black and white digital photographs. Through a series of self-portraits and portraits, Mpumelelo has produced a new body of work that takes inspiration from the isolation experienced during the national lockdown. In the initial stages he used his bedroom as a studio to make self-portraits, seen in the choice of props used by the artist: bubble wrap, tin foil, lace fabric, bed sheets, and other materials found in a home. The images attempt to depict the meditative state of the artist when he started to wonder about the biblical concept of an angel and how he could elevate himself spiritually to attain the level of divinity and purity described in the holy book. As the process developed, Mpumelelo invited his friends to participate in this act of image-making, reflecting a need for companionship
The Library x Umhlabathi Collective On show in June at The Library of Things we Forgot to Remember at 44 Stanley Join the artists for a walkabout on Saturday June 18 at 11:00 The Library x Umhlabathi Collective Photography exhibition at 44 Stanley The collaborative efforts and partnership between The Library of Things We Forgot to Remember and Umhlabathi Collective is a perfect example of artists uniting with a common goal: to nurture visual culture and photography in our community. This showcase presents an installation of photographs by three of its collective members: Jabulani Dhlamini, Tshepiso Mazibuko and Andile Komanisi
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The Nature of Photography by Through The Lens Collective https://www.inyourpocket.com/johannesburg/victoria-yards_151290v The Nature of Photography exhibition at Through the Lens Collective Through the Lens Collective asks us “what is it that keeps us looking, imaging, clicking and scrolling?” with this thoughtful exhibition of photographs by mid-level and advanced student photographers. In a world full of images, amongst the millions of photographs being created and shared each day, we take in visual content and form at the speed of light, never growing tired of the over-saturation of scenes, viewpoints and snippets we’ve consumed in the endless pursuit of that unknown moment that we instantly recognize. As we continue to satisfy our insatiable desire for photographs, seeing pieces of our world through many different eyes – we can ask ourselves if we’ve ever really seen it all? And so, with a renewed sense of wonder and curiosity; we begin to contemplate again – the nature of photography
58 - MAY 2022 Written by Clare Appleyard
EPC A NEED FOR SPEED
Photos by Brian Shaw, Andrew Mayes, Kenneth Mukute and Clare Appleyard One of the EPC committee’s focus areas this year was to get our outings up and running again after our enforced Covid break. Outings and events provide an invaluable way for us to build camaraderie and friendship within our club, whilst at the same time giving members opportunities to shoot new genres and develop new skills. Following the success of our recent model shoot, we turned our focus for June to motorsports. With committee member Kenneth Kubheka as our resident motorsport photography expert, Ken organized for EPC club members to shoot a day of drifting at Brakpan’s The Rock Raceway. With a sense of excitement, 10 EPC members made their way to The Rock, resplendent in our high-visibility vests. After a quick crash course (no pun intended) from Ken as to what settings to use, we made our way down to various vantage points around the track with our cameras at the ready. It quickly became clear that panning is not as easy as it looks in a final edited salon-worthy photo! I’m sure I’m not the only member who had to trash hundreds of out of focus, blurred and amputated car shots. Luckily, there was plenty of action for us to practice on and fine-tune our settings with and, by the end of the afternoon, most people were managing to bag some acceptable shots. As the single car qualifying races ended, and the sun started to set, the real action started as two car drifting began. If focusing on one car at a time was a challenge (and it was), focusing on two cars drifting together made for even greater demands on our photographic skills. As the sun disappeared below the horizon, the temperature dropped rapidly, and we packed up our cameras with the smell of rubber in our noses and the sound of screeching tyres in our ears. It was a superbly fun afternoon enjoyed by all who attended and we owe massive thanks to Kenneth for organizing the outing .
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Thanks Kenneth! It’s safe to say a number of us will definitely be back at the side of the track in the near future.