Winter Edition, GPU Magazine 2015 by Global Photographic Union

Global Photographic Union

ISSUE 05 Winter 2015

MAGAZINE

GO SET GO FOR TRAVEL PHOTOGRAPHY by Gurdas Dua

3RD GPU PHOTO FESTIVAL IN MOROCCO by John Law

WATER DROPS PHOTOGRAPHY by Veli Aydogdu

GPU MAGAZINE winter 2015 1

“Under the snow” Feyza Berker

“Nostalgia” Muna Alzaabi

GPU MAGAZINE winter 2015

A word from the President.. Dear photo friends,

Cover image by Saeed Dhahi “Future study”

GPU G l o b a l

MAGAZINE P h o t o g r a p h i c

U n i o n

As you are already aware of, the change ofour association name has already takenplace. Along with this change there has been also achange in our site. It is a completely new site for everyone with easy access to all that concerns GPU, distinctions, licenses, member registration etc. Our new distinctions, VIP (Very Import Photo) are already ready for use by our members. These distinctions have to do with photos that have been awarded with gold medals in photographic competitions and constitute a different kind of distinctions other than crowns and titles. With this issue, which is the last one of 2015, you received the new GPU photo book with photos of all the members who responded to invitation (emails) and sent photos. It is a luxurious edition which takes place every 2 years and is distributed to our members, photographic clubs and institutions and persons relevant to photography. You also got our new member pin, distinctions pins and your new ID cards. I hope that you are all going to enjoy this issue with its great articles as well as the new GPU photo book. We in GPU , are looking forward for your feedback, comments, suggestions and ideas. Your involvement helps us to be much better!!!

Executive editor & Graphic design Marija Milovanović Maksimović

Co-Editor Manolis Metzakis

Manolis Metzakis GPU Cr5, GPU ZEUS, EFIAP/p, ESFIAP, PSA**

Contents Autumn/Winter 2015 4 8

Back cover by Roger Jourdain “Faty” www.gpuphoto.com

Water drops photography

by Veli Aydogdu

GO set Go for Travel Photography by Gurdas Dua

3rd GPU Photo Festival in Morocco

GPU Titles - Do & Don’t

New crowns and titles

by John Law

GPU MAGAZINE winter 2015 3

WATER DROPS

PHOTOGRAPHY

text and photographs by Veli Aydogdu

...Catching the miraculous drop forms which appear and disappear within a few microseconds..

The number of the people interested in water drop photography for years is not over the fingers in hands indeed. When I suddenly came across one of these photos, I remember so well that I couldn’t take my eyes from it for a long time. I do believe that each drop is unique and each one of them is the reflection of a miracle. Water is the source of our life, the indispensable one; however I doubt that most people cannot see the amazing shapes water can form. Water drop photography steps in that point. Although it happens permanently, we cannot notice the forming of the water drops with bare eyes. Using the high speed photography tools, to the pleasure of your eyes,I am presenting the miraculous drop forms which appear and disappear within a few microseconds. I also would like to express my deepest love and respect to the whole GPU family introducing my photos which do not consist any Photoshop processing apart from basic colour and contrast adjustments, and erasing tiny splashed droplets. “Angry bird” 4

GPU MAGAZINE winter 2015

First, I will give information about the basic and assistant equipment used in water drop photography. We will need a DSLR as camera and I use Nikon D90. For the lens, a macro lens should be preferred and I have a Nikon Nikkor 105mm f2,8 micro lens. Drop photos are taken on a tripod that it is important to choose a good quality one as even millimeter turnabouts will change your frame or sharpness. System Roof: I have a main stabilizing system, designed by myself. I got a carpenter to build it (you can see it in the photos). I installed the valve system controlled by the electricity on this stabilization system. From a specific height and with specific angle I release the water drops into the pot within specific seconds through the valves. Microcontroller Unit: I have an Ardunio based microcontroller unit, adjusting all the time periods. It is connected to all the flashes and ventils. It provides an arrangement of all the adjustments by the help of a software.

“Flame circle”

Flash: I use 4-5 external flashes. Using them in manual mode with different angles is quite useful. I locate diffusers and softboxes in front of the flashes to diffuse the light and colour the background. The flashes are used from behind, one meter distanced direct or 20-30 cm distanced from the sides through softbox. Electromagnetic Ventils: The unit, which takes the drops from the dripping reservoir and carry it to the pot down within previously determined seconds, creates the drops by giving electrical current of 1/1000 seconds sensitivity. The number of the drops can be 1, 3 or 5 and the height from the ventil to the pot down is around 45-50 cm. The inner diameter of the ventil port is between 2-6 milimeters

“Mexican hat” GPU MAGAZINE winter 2015 5

The Liquid and Additional Substances: Water or milk can be used. To change the consistency and colour of the water various food dye can be used, furthermore cartridge ink in different colours can also be used for this aim. Focusing: To the exact point where the drop drips a stable object is put and an auto focus is made, then framing goes on at manual mode. Usually a distance between 50-100 cm is preferred Dripping Reservoir: Any kind of bottles can be used. The reservoir we use is connected to the ventils with 8mm diameter hoses and the reservoir is about 1mt height distanced to the pot down. Dripping Pot: It is the pot, where the drop released from up, meets the water down. A pot of glass, ceramic, acrylic or tin can be used. It should be minimum at 1,5 cm depth. Between 1,5cm and 3cm depth, the forms may change according to depth but after 3 cm, the depth of water does not change the forms of the drops. In the process of creating the photos, beside this technical equipment, there are weeks, months of technical and mathematical calculations, chemical formations and exhausting efforts. To mention the details of the process; everything happens in 1/1.000.000 seconds which means in 1 microseconds and the photographer’s aim is to catch exactly “that moment” and frame. There are a lot of variables in the process and it is inevitable for each variable to affect “that moment”, thus it is necessary to standardize many variables such as the type of the liquid, fluidity level, the chemicals used for colouring, the height of the dripping reservoir, the distance of the electromagnetic ventils to the dripping surface, inner diameters of the ventils, the distance and gradient of the side electromagnetic ventils to the central one (they can also be changed), the angle and the distance of the flashes, the depth of the water, surface intensity of the water…etc. and the endless combination of all these with each other. Everything is for “the moment”. “Rainbow” 6

GPU MAGAZINE winter 2015

After the photo shoot, post processing is the easiest even the negligible part of water drop photography. We, the drop photographers, always boast for not using any Photoshop manipulation in our drop photos. We just struggle for hours to reach the colours and forms, which can be created easily in a short time and we feel proud of that. Our processing are only basic tone, contrast and sharpness adjustments and erasing a few tiny droplets. After finishing all the process and reaching the latest product, the photo, when people see my photos, their first reaction is “Wow, how does that happen? And that is the question I always love to hear.

“Carousel”

“Heart on the top”

“Night lamp”

Veli was born in 1974. in Germany. He lives in Turkey and works as medical doctor otolaryngologist. He’s been shooting since 2011. and his main interest is life, macro, portrait and water drop photography. He participated in more then 100 national and international photography competions and getting around 800 acceptances and awards.

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GO SET GO

FOR TRAVEL PHOTOGRAPHY â&#x20AC;&#x153;Desert travelersâ&#x20AC;?

Text and photographs by Gurdas Dua

As winter approaches , myself being professional photographer and having a zeal for pictorial photography, wish so much to move myself out of my house, set aside my assignments and go out of bounds for few photographic outings. In most parts of my country India, winter is the best period of the year, when we set out for Travel Photography, because the eyes of a pictorial photographer look for soft silky warm light for best of their shots. This quality of soft ambient light is a gift from nature to the Pictorial Photographers who have made master pieces of photo art works using this light. The blend of morning mist, dust or smoke with soft light can create painting like effects in photographs. Winter season is also best for wildlife and bird photography. Reserve forest and national parks af ter rainy season and harvesting of long grass reopens for public and this is the time when migrated birds come to India for breeding and stay till end of the winter season. So wait till scorching summers followed by lush-wet rainy season is over and get set go for travel photography in winters. This is the golden opportunity for travel photographers who can opt for coming to India for photographing Wildlife in reserve forest or National parks, Migrated birds in bird centuries, People, Nature, Historical monuments, Cityscapes, Rural landscapes, Sea shores, Backwater areas , Hills and Mountain landscapes, including snow-clad peaks, Lakes, Ponds, Rivers, Waterfalls,Sand dunes etc. 8

GPU MAGAZINE winter 2015

Whatever destination you choose for your travel photography this winter, you should be sure to be geared up with proper camera and lenses. If you are a serious photographer no matter professional or hobbyist, you should have at least one Digital SLR / SLT camera with full range of wide to tele lenses. To get best of whatever you shoot, It is a must for SLR / SLT camera owners that they should be familiar to the basics of photography, the camera features and itâ&#x20AC;&#x2122;s settings and few pictorial laws which masters in field of art photography have set so far. I follow a formula for doing Pictorial Photography. Remember a word PICTO and place first letter P at last and last letter O at first. What you get is OICTP O stands for- Originality of the Subject Matter I for- Interest in Subject C for- Composition & Lighting T for- Technique P for- Presentation

Originality of the subject matter: A painting artist and a photographer both create artistic images. One uses canvas, colours and brushes and other uses camera and lenses. A painting artist sitting in a room can imagine a landscape, its composition, lighting, formation and colours and can bring it to canvas with help of brushes & colours. But Photographer cannot do this; he will have to look for the subject in his surroundings and hence will have to keep his eyes open to find out his subject from his surroundings. For this purpose the training of the eye is necessary. The training to the eye can be given by adopting few rules of composition and lighting. Whenever you find a subject in your surroundings, ask yourself a question, Have you seen this or this type of subject before? If the answer is No, a high rank can be given to the subject matter, because it is original.

Interest in Subject:

But at the same time the subject should be interesting also. The subject may be original but if itâ&#x20AC;&#x2122;s ugly looking and do not have any beauty in it, it may not be interesting to look at. So it does not make any sense if the subject is not interesting. So look for the original subjects with interesting elements in it. Interest in the subject matter can also be created by using photographic techniques. But at the time of selecting the subject matter photographer should conceive the concept of creativity.

Composition: Look for relief in Background - Take first step to look at the background and decide if you want to keep it Sharp or Blur. Background should not be disturbing. Avoid Disturbing Elements, Bright or light patches, vibrant colours if any in the background. There should not be any vertical or horizontal lines in the frame which may divide your picture into two. One should look for the diagonal leading lines which may lead your eye to the main subject. Example: Desert Traveller GPU MAGAZINE winter 2015 9

Follow Golden Rule of 2/3 The golden rule says- If the sky portion is very interesting i.e. if it has dramatic clouds or some interesting attractive colours then 2/3 portion of your frame should have sky portion and only 1/3 portion should have land and vice versa. Example: Neelgiri Mountain Range Follow Golden Rule of 2/3 The golden rule says- If the sky portion is very interesting i.e. if it has dramatic clouds or some interesting attractive colours then 2/3 portion of your frame should have sky portion and only 1/3 portion should have land and vice versa. Example: Neelgiri Mountain Range

“Neelgiri Mountain Range” Try avoiding too many objects in your frame The Main subject should not be dominated by any other object or objects. If at all they are to be included in the frame they should be supplementary or supporting to the main object. Placement of the main Object: Avoid placing your main subject in the centre of the frame (except in wildlife and nature). It should be placed in either of the four corners.

“Temple at Step Farm” 10 GPU MAGAZINE winter 2015

Formation types- Look for Triangular, Circular, Oval, U, S L type formations in your composition. These type of formations have smooth curves and so have a Rhythm in composition. Example: Grandeur of Narbada

“Grandeur of Narbada”

Texture & Pattern: Photographs having textures and patterns can be very interesting to look at. Example: Arches & Temple at Step Farm

“Arches” Totality in your frame: Proper Spaces in front back, above and down your object. In foreground a tree leaves can be included to fill the blank or uninteresting sky portion. Example: Rewa Pond

“Rewa pond” GPU MAGAZINE winter 2015 11

Tone gradation: Tone gradation plays a vital role in photography. Light to Dark and whites to blacks, if has a great tonal range, gives more visual impact. Example: View from Kausani

“View from Kausani” Understanding Colours: One should have a great understanding of colours. Use of Primary & Secondary colours, Hot & Cool Colours in your frame can be very effective for making colour balance & Colour Harmony. You can balance the composition by taking good use of the colours. Prominent colour of the main object can be balanced with the subdued colours of the rest frame . For example your main subject is smaller in size which has a very prominent bright primary red colour can be balanced with subdued secondary colour in rest of the frame which has much larger area as compared to the main subject. Example: Pepper in bowl.

“Pepper in bowl” 12 GPU MAGAZINE winter 2015

Lighting: The best time for outdoor photography is generally morning and evening hours of the day when sunlight is at 30 to 45 degree angle and it is warm and soft. Photographers call it “ Golden Hour Lighting”. The simple principle is Hard light forms hard shadows and soft light form soft shadows. That’s why pictures taken in soft light has less contrast and gives a great tonal value. Here are some tips of using available light creatively: • Shooting your subject against strong light will give you Silhouette image. • Back light in the morning or evening when mixed with dust and smoke can create a painting like effect. Example: Jungle Safari • Morning soft light mixed with fog creates an artistic effect. Example: Foggy Morning • Lighting from one side on people faces, which we call window lighting looks very creative in Portraits Example: Radio Jockey • Soft Back lighting or Rim light in portraiture with reflected light from front is Glamorous lighting Example: Young Dear • Strong Back light passing through subject like petals of flowers gives it a bright vibrant color when taken against dark background. • Light reflected through color objects may give color tones on your subject. • Light reflected from white subject can be used as fill in light. • 45 0 Back light with dark back ground makes the subject stand out and makes it more interesting.

“Jungle safari” GPU MAGAZINE winter 2015 13

“Foggy moring”

“Young deer”

“Radio Jockey”

Technique: Depending on your subject you may use different Camera techniques and Photoshop techniques to bring creativity to your work. • Panning - Example: Dare Devils • Zooming - Example: Bheel Tribe Dance • Solarisation- Example: Girl with Red rose. • Posterisation • Hi Key & Low Key effect • Effect of slow and fast shutter speeds • Time exposure & Multiple exposure • Shallow Depth of field • Longer Depth of field- Example: Walk in the forest

“Dare devils” 14 GPU MAGAZINE winter 2015

“Bheel tribe dance”

“Girl with the red rose”

“Walk in the forest”

Presentation:

After getting good shots from your camera, you may need to improve it in your digital darkroom (Photoshop or any other software you work on) for getting excellent printing results. If you have taken your pictures in Raw format, you may have to work on Raw adjustment window and do few density corrections, colour corrections for adjusting colour saturation, colour contrast in your picture. You may also have to sharpen your images if you have not opted Sharpening in your camera. And finally choosing proper print media for making an outstanding print.

Gurdas Dua is a International photographer, Judge and Faculty from India who specialises in Pictorial, Nature, Wildlife, Portrait, Industrial & Advertising Photography. He is a Fellow of India International Photographic Council and Butterfly Art Foundation, as well as Honorary Associate of Pictorial Art Society of Pakistan. He is life Member of many photographic councils including India International Photographic Council, Federation of Indian Photography, Camera Club of Indore, Centre for Advanced Photography, Indore, India. He has conducted several highly technical & specialised Photographic campaigns for Archaeological Survey of India which involved the restoration of 3000 year old Buddha period cave paintings at Bagh Caves, India and the documentation of more than 100 ASI listed monuments. Dua also conducted many workshops throughout India and has been honoured as Sony Alpha Series Brand Ambassador by Sony for conducting Sony organised Photographic workshops. A winner of many photographic accolades, he represented India at the FIAP-KODAK International Photo Contest in 1993 at Belgium and led an Indian photographers delegation to Pakistan for “Art for Peace” mission in march 2006. He was also placed among top 30 exhibitors of the world by National Geography for the year 2008.

GPU MAGAZINE winter 2015 15

GPU PHOTO FESTIVAL

MOROCCO 2015. © Ari Neşe

text by John Law

Every two years GPU organizes Photo festival to gather its members with the idea to share fun times together, exchange photography knowledge, make joint photo exhibitions and all the while visiting places with great photo opportunities. Some great friendships are made on these festivals, and this year was no exception. During the 8 days in July this year, GPU members met in Morocco. The cities and places included in this tour were chosen to offer less traveled roads by tourists, so it started in Marrakesh, the one of Morocco’s imperial cities and the second oldest in the country, known as “the pearl of the south”. This lively city is pretty much in its entirety the color ochre, and in the bright daylight seems to glow. The many small alleyways are often in deep shadows, cool but a challenge to photograph in this contrasty conditions. While in the Marrakesh area, we also got the chance to visit stables with Barbie horses, a unique Moroccan breed. After Marrakesh, we continued our trip across the Atlas mountain (climbing to over 2000 meters of altitude), to Boumane Dades, cities Tinghir and Erfoud, and all the way to Merzouga - - situated in the Sahara desert, close to the Algerian border. Since it was July, the weather during our trip was

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quite challenging, with temperatures above 30 degrees Celsius going up and over 50 degrees as we moved closer to desert. The trip was planned in such a way that offers sights and experiences of traditional inherent characteristics of Morocco, so we encountered many local customs including country-wide serving of mint tea, tagine cooked lamb, locally grown oranges, cuscus, dates, etc. On several locations our hosts organized staged photographic opportunities with musicians, dancers, jockeys, snake handlers. On two occasions we had the opportunity to see and photograph arranged wedding ceremonies in traditional costumes and manners. Our group was large (more than 100 people with guides and drivers) and sometimes it seemed to be intimidating the local people, so they were not happy to pose for the cameras - on the contrary, they often appeared to be afraid and angry, particularly in areas where people are not used to seeing strangers very often, especially in such a large number and with cameras. Maybe if we had known and understood the local languages and dialects, communication would have gone better. Without photo opportunities served up on a plate, we had to learn to engage with the local people in a thoughtful and sensitive manner. Once over the Atlas mountain, we entered the dry Saharan desert region. We have learned that the desert is not made up only of send dunes, but the vast region is composed of rock, gravel, scrub and huge areas of open “nothingness”. We did get up close and personal with text-book yellow sand dunes over a hundred meters high, and a caravan of camels with a memorable sunrise. Even with limited photo gear to carry, the dunes were remarkably difficult to climb up, and not easy to come down gracefully.

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Thoughts went to the epic tales of crossing the desert (“..on a horse with no name..”) which, for many of us, was a highlight of the trip. We also got the opportunity to visit a real Oasis and experience the fragile life that the locals live there surrounded by the inhospitable desert. At Ait ben Hadou we visited the fortified city along the former caravan route between Sahara and Marrakesh, where many movies were shot (most memorable: Gladiator, Prince of Persia and the cult series Game of Thrones). Most citizens living in the area now live in more modern dwellings in a nearby village, although there are four families still living in the ancient city. This giant fortification, which is made up of six Kasbahs (a type of north-African town-fortress) and nearly fifty ksars (which are a form of individual Kasbahs), is a great example of earthen clay architecture. We experienced first-hand the unique mudbuilt fortified village with no electricity or water except that brought up from the river. This was a living film set protected by UNESCO, but many

of the small towns and villages we passed could just as easily also have been used in movie productions. We ate one night at an Oscars film themed restaurant. While the governing board meeting took place, the remaining participants visited the local Atlas Film Studios. While in the high dune region, it was easy to imagine being on the film set of “Lawrence of Arabia”. The final evening featured a staged spectacle at Shezz Ali, with tribal horsemen discharging their formidable weaponry right in front of us. We also had great food and celebrated two birthdays. One big family. It is not easy to summarize the 8 days of the Fotofestival - An Interesting trip, with many photographs with smiling participants (already posted on Facebook). Indeed most of our participants were experiencing Morocco for the first time. The lasting effects of this trip will surely be the new friends made, existing friendships deepened and international bonding. Photography is truly our shared international language. Whether images were taken for fun (e.g. Facebook) or to be used in salons, Morocco offered many possibilities. The landscape, culture and customs of this exotic country are indeed very different from what many of us are used to. Those who had extra days in Morocco (Fez, Casablanca, Blue City, Essaouira and so on) will also testify that Morocco is a vast country. Very diverse. Very beautiful. Full of surprises.

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Circus 3

Circus 2

Circus 1

GPU TITLES DO & DON’T

by Joh Law

Since 2010 over 50 applications for GPU Titles have been made. It is a good time to offer advice based on the “mistakes” of the past. GPU encourages all photographers within GPU to gain Titles, the best and most highly prized panel based distinctions in the world. The aim of GPU Titles is to see the photographic “HEART” of the applicants in a “body of work”. This consists of panels of works (2, 5 or 10 for Aphrodite, Hermes or Zeus) from each of 5 chosen categories. The GPU distinctions scheme is reviewed every year. Recently GPU has produced documents to help, steer and guide applicants particularly in regard to the requirement for submissions as panels of works.I write here to remind applicants on certain key issues that will make the application process as stress-free as possible. Two sucesful panels are presented here: Hermes from Salvador Atance on this page and Aphrodite from Cihan Karaca on the next page.

Portrait 4 20 GPU MAGAZINE winter 2015

Circus 5

Creative 1

Creative 2

Portrait 1

Some tips: • Always refer to the latest guidance documents from the GPU web site (www.gpuphoto.com). There is a pre-application form which starts the process (generates a unique code). • The full application form has a check list … this ensures that each applicant certifies that they have read all the necessary documents (designed to help and aid applicants) and supply all relevant information. GPU Governing Board has agreed that OPEN will be removed from the list of 10 categories (replaced by MONOCHROME). Applications are still being made with OPEN. This is not allowed.

Landscape

• The word “panel” is still not well understood. There was an article in a previous GPU magazine on this topic. Successful GPU Titles panels are on the GPU web-site. These will give pointers as examples as to what is required. • We at GPU encourage all applicants to submit written information which is supplied to the jury at the assessment. This is the only opportunity for applicants to explain their motivation and describe the rationale for their submission. Photographers rarely have to write such a self-promotional paragraph describing their works, but it is important and worth putting in the time; effort will be rewarded. The reason this is important is the fact that GPU Titles are assessed as a body of work … the panel.

Travel

• When - For Aphrodite applications are received throughout the year. Results for APHRODITE usually within 6 weeks. There TWO are assessment dates per year for GPU HERMES AND ZEUS Titles. The closing date for sending applications SPRING 31st of May and AUTUMN 31st of October the results will be normally be declared within 14 weeks. • If in doubt, please ask the UPI Titles Officer. Emails question and queries will be answered.

Travel

Monochrome

Street

Street 2 GPU MAGAZINE winter 2015 21

GPU CROWNS, VIPS

TITLES 2015.

NEW TITLES CROWN 4 Almutaghawi Fadhel, Bahrain Alzadjali Habib, Oman CROWN 3 Alalawi Said, Oman Al Zaabi Muna, United Arab Emirates Aydogdu Veli, Turkey Cannon Wally, Australia Güven Cemil, Turkey CROWN 2 Abussaud Firas Ahmed, Saudi Arabia Aktürk Arif Hikmet, Turkey AlKamel S.Baqer, Bahrain Al Mandhari Maha, Oman Baleanu Razvan, Romania BhattacharjeeArup, India Geus Serge, France Goh Kok Leong Jack, Singapore Güven Cemil, Turkey Hammer Jacqueline, Australia Kodela Elizabeth, Australia Lim Leong Kiat, Singapore Paraskevakis Dimitrios, Greece Poh Ai Low, Singapore Sapounakis Pantelis, Greece Yilmaz Ibrahim, Turkey CROWN 1 Akharman Alperen, Turkey Allouz Ola, United Arab Emirates Alryhan Mishal, Saudi Arabia Buyuksural Nihan, Turkey De Cort Daniel, Belgium Radi Mohammad, Jordan Savescu Flavian, Romania Şenbayrak Ayhan, Romania Truong Anh Duc, Vietnam

Aphrodite: Alsahel Mamdooh, Bahrain Cannon Wally, Australia Demirkol Selma, Turkey Demirkol Sema, Turkey Karaca Cihan, Turkey Kapadia Abbas, UAE Leong Kiat Lim, Singapore Stuppnig Stefan, Austria Tam Joseph, Australia Yilmaz Sadiye, Turkey VIP 4 Andreou Andreas, Cyprus VIP 3 Kalenderli Erkan, Turkey VIP 2 Almutaghawi Fadhel, Bahrain Alrabeai Nasser Saeed, Saudi Arabia Ebrahim Isa, Bahrain Lin Kah-Wai, USA VIP 1 Alibrahim Ahmed Abdullah, Saudi Arabia Güven Cemil, Turkey Mohammed Mahmood, Bahrain Stuppnig Stefan, Austria

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“Garry”

“Lost in the mist” Borislav Milovanović

“Deep sleep in one thousand” Youguo Shen GPU MAGAZINE winter 2015 23