Sarah
Lesley
Peter
Jennifer
Awarded Silver - May 2024
Mary McClymont
Julie Oswin EDITOR
Welcome to Issue 62 of Creative Light, the Guild of Photographers’ Online Magazine! Get ready to embark on a journey through a stunning collection of articles and features that capture the very soul of photography and the creative passion that fuels it.
We are thrilled to shine a spotlight on the extraordinary talents within our
community. Whether you’re a seasoned pro, an eager newcomer, or a passionate photography enthusiast, this issue promises a wealth of inspiration, discovery, and engagement.
In this edition, we dive deep into the art and science of photography, uncover the secrets of perfecting composition, and explore the ever-evolving world of SEO. Join us as we celebrate the profound impact photography has on our everyday lives and continue to push the boundaries of creativity.
- Julie Oswin, Editor & Creator of Creative Light Magazine
“ Remember, creativity is not just about seeing; it’s about feeling. It’s about capturing those fleeting moments that tell a story, evoke an emotion or simply take your breath away and at Creative Light Magazine, we’re here to help you do just that.” - Julie Oswin
FRONT COVER - ISSUE 62
The front cover of this edition of Creative Light, photographed by Kristina Zvinakeviciute, was awarded a Gold Award in the Image of the Month competition for June 2024. This captivating image beautifully embodies the concept of creative light. The photograph features a delicate seed head adorned with water droplets, illuminated by warm, golden sunlight. The intricate shadows and reflections in the water below add depth and dimension, showcasing Kristina’s exceptional talent in capturing the essence of artistic photography that Creative Light Magazine celebrates.
Photo: Charles Thorne
Professional Indemnity
Public Liability
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Personal Accident Insurance
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Qualified Guild Photographer
June 2024
Ian Taylor
You, too, could be the next great success story to be featured in the Guild of Photographers magazine, Creative Light. Join us today!
Photo: Lee Frost
Photo: Natasha Ince
Prints as good as it looks
The Epson SureColor SC-P700 and SC-P900 photo printers are as pleasing to the eye as the prints they produce. These professional-level, compact A3+ and A2+ printers produce sharper detail and smoother gradations using the deepest blacks and superb blue tones.
For more information on how Epson has redefined the design and output of professional photo printers, visit www.epson.co.uk/professional-photography
Photo: Cliff Spooner
Photo: Daniel Main
Relive your beautiful travels
Our travel blogges Annika and Mathias have immortalised their magnificent five-week trip to Australia
Here are their tips and tricks
Opt for a cohesive and minimalistic look
Our travelling duo carefully curated their photos to create a seamless visual journey, ensuring matching colour tones and lighting while avoiding overcrowding.
Make your memories move with video
To record our memories even more vividly, we have included a video at the end of the photo book. This can be scanned by a QR code and viewed on your mobile phone.” - Annika
How to: Simply insert the video onto the desired page and a QR code and film strip with a sneak peek at the frames of your footage will appear.
Use the back cover as a visual summary
To highlight the standout moments from their journey, the adventurous duo opted to showcase a collage of their favourite photos on the back cover of their travel photo book.
travels over and over again
Australia into a stunning XL Square CEWE PHOTOBOOK, using the free-to-download CEWE Creator Software.
Let your travel memories come to life
Review your cherished moments with a breathtaking CEWE PHOTOBOOK. Let your photos transport you back in time, allowing you to relive every second for years to come.
Click here to see more of the Australia Photo Book from Annika and Mathias
Creating a Successful Equine Portrait Session
Emma Campbell
“Over the last few decades, I feel there has been a shift in horse owners to become more attuned with their relationship with their horses and proactively strive to see how best they can communicate with them. Now often seen as extended members of the family (certainly in our household!), it’s fantastic to hear and read discussions on how they contribute hugely to supporting us, whether that’s giving us light relief at the end of a day from a stressful workplace, instilling confidence in a young person experiencing their first pony or providing unconditional love during times of sadness.”
Setting the value of your client’s relationship with their horse
From an initial enquiry with any potential client, I like to get on the phone and chat with them about why they feel now is the right time to have a portrait session. (This has taken a few years of practice, as I was always so nervous talking on the phone!) But it’s invaluable.
Whatever I learn from this conversation becomes the bedrock of their session and a focus on the result - what we’ll achieve at the end - beautiful, bespoke pieces of wall art that will have meaning and emotion-specific to my client.
So, we start with the goal and then create the steps to achieve it
Focusing on creating a great experience and customer journey
For me, it’s about creating the complete, amazing package—from the initial call to receiving their wall art choices. It’s not just about the portrait session. After the client’s book, I’ll send them a digital brochure and three further emails, which are packed full of advice and tips leading up to their session. I strive to encourage excitement.
Then, the days before, I’m back on the phone checking their location and final details regarding the weather and how their horse is. Preparation is everything, so I’ll know how the horse will react to certain environments before arrival.
Working in the North of England has been quite a challenge this year. If it’s not raining and muddy, it’s been windy. (Horses often don’t like the wind – as they use their hearing for safety – and it can make them on edge.) If showers are forecast and we have a barn, we can use, and if all the information to hand looks ok, I aim to proceed.
Arriving at any venue
This could be a private country estate hidden behind electric gates or a field on top of a moor. I always approach every client with a big smile on my face. And no matter what journey I’ve had travelling there (often down the M6), it’s really important that I can connect with my clients straight away. The more fun we have, the more relaxed my client will be. The more relaxed, the better the photographs I’ll capture. And it’s interesting because if the client is nervous, the horse will pick this up, too. And that goes for a photographer’s nerves as well!
So, it is all about generating a very calm, enjoyable, friendly environment to get the very best photographs we can.
Where to shoot
I always travel to a venue my client requests. A place that is special to them both. On arrival, this can be exciting, but also throw the odd challenge too! Leaving the horse in the stable or horse box and initially going walkabout with the client to scope out locations is a great way to get to know them more and to bond.
Similarly, with the horses, if they know where they are and are happy and relaxed, their true personality shines through. My aim is to capture the unique connection between horse and owner, which can take years to form. I find it fascinating that horses read their owner’s body language and listen to the tone of their voices to try and understand what we are trying to communicate with them. Every horse and rider is different, and it is this that I love to capture.
So, while we walk and chat, I always look out for opportunity backdrops. It could be a beautiful tree in blossom or some hedging; long grass is brilliant as it adds a really good dimension to the photographs.
But be aware of distractions, too. Do you have to place your subject where behind is a pylon or some wheelbarrows and haynets? Always analyse the light. Where is the sun? Do you need to place them in the shade? Your aim is to try and get as perfect a photograph on location to reduce the time required to edit afterwards.
Horse Behaviour
Once you’ve selected areas you’d like to use as backdrops, we introduce the horse. I observe how they react coming out of the stable or horse box. How is it looking? I have an expression – is it on its toes? How alert? Is this normal? Or is the body long and low and not bothered? Reading how the horse is is paramount to a successful shoot. You don’t want to place a horse in a location it’s not comfortable with.
If you haven’t been around horses much, I would recommend studying horse behaviour. Horses can be incredibly expressive through their bodies and particularly their faces, and you can read a lot of what they’re feeling just by observing.
Get yourself involved with being around horses, not just at a session. If you are inexperienced, do you have a friend who owns a horse that you could visit regularly to help and gain skills in horsemanship? Or contact a local riding school or Riding for the Disabled Centre and see if you could do some voluntary work. The more you are around horses and the more you can understand how they communicate, the better experience the horse and owner will receive, and the quality of what you capture will also excel.
It’s all about the client and their horse
At the start of a session, my client may be nervous, so I offer a few standard poses to just get them thinking of something else, rather than me standing there with a camera present.
The main one is just walk away with your horse and then walk back. The horse is preoccupied, but hopefully, the client can just take a moment to breathe and start enjoying the moment.
Then, I just let them talk to each other. We walk to each location spot and take some new photographs. I then let their connection do the talking.
Having an extra pair of hands
I always suggest my client bring along a friend to the session. This person is invaluable, and I always tell them that!
An extra pair of hands, if needed, can rustle a bag, snack box or two. Use the horse neigh app on my phone, or in extreme circumstances with a very laid-back horse, star jump, or wack a stick on a fence or tree!
Session length
Normally, I stick with one hour. But this all depends on the client and their horse. Mobility of both can shorten a session. Older horses, or those suffering from conditions, need to be treated with great care and their welfare, it goes without saying, comes first.
Camera equipment
I keep it very basic. I tend to use just one camera, with a 24-70mm f2.8 lens, for all my portrait work. Have a spare camera in the car, just in case and a 70-200mm lens for distance work, such as beach shoots. No flash or reflectors. Just keep it as simple as possible so you don't change the horse's personality.
Capturing
the horse at its best
Every horse owner studies their horse's legs! They are athletic animals, and at the time of their portrait session, it may have taken the owner possibly 5 to 8 years to develop their horse's muscles and what we call, in the Equine world, their top line. (The definition of their back muscles through to the top of their head). We strive for suppleness, balance and soundness. When capturing a horse in movement, get parallel and side on to it – and aim not to show a lazy leg. All legs must be active and doing something strong and powerful. If you have one trailing, it makes the horse look incredibly untidy. As your client has been working hard to get their horse balanced, forward in the movement and strong – you should aim to get the same in your imagery. Many horse books demonstrate the perfect outline for paces for you to use as a guide.
Once you’ve captured the magic
It’s not time to head home yet! This is the moment when the horse is back in its stable or horse box that I show my clients some of the beautiful products available for them. I only use five products! Keeping it simple and letting the photography do its work, but it’s such an amazing opportunity for my clients to see and feel what quality products they are.
I then leave them with homework! Where would you like to see your perfect portrait hung at home? It’s these areas around their house that they snap for me on their mobile and send me before their gallery reveal and design consultation. I use their images as part of their presentation so they can really envisage what their favourite photographs will look like in their home. Providing a bespoke experience and tailoring everything so that it’s just right for them.
- Emma Campbell
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Photo: Renate Zuidema
Pics4schools Plus is the only solution developed by a dedicated Schools Processing Laboratory, thus ensuring the whole quality control process is maintained under one roof. It’s also one of the most cost-effective solutions for Schools and Nursery photographers in the industry. The hype really is true. Droves of Schools and Nursery photographers are abandoning their Schools photography platforms and flocking to benefit from Pics4Schools Plus.
Photo: Joanne Eastope
Photo: Emma Finch
Photo: Helen Otton
Photo: Malcolm Jenkins
Photo: Magda Bright
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Choose from three plans and follow the simzple steps to open account. Offer customers finance. Agreements
Behind the Scenes of a Mentoring Session - Part 3 of the Series
With Charlotte Bellamy
In the last two editions of Creative Light, Charlotte Bellamy has been taking a look behind the scenes at some mentor and feedback sessions.
Both mentoring and feedback are available to all Guild members and can be used to raise your awareness and develop your photographic skills to help improve your photography.
In this edition, panel member and judge Charlotte Bellamy takes us behind the scenes to another mentoring session.
Ever keen to explore multiple genres, this article will be looking at equine images. Charlotte enjoys Equine Photography, has two ponies herself, and loves to mentor photographers on this subject.
Enjoy this behind-the-scenes peek if you have ever had a go at either and wonder what you might have been missing.
THIS ARTICLE COVERS TWO FEEDBACK SESSIONS THAT FIONA
ORGANISED
Fiona joined the Guild in March this year after attending the NEC Photography show and meeting the Guild team, so she has been quick to get stuck into making the most of the opportunities for learning it offers. She has been photographing professionally as an equine portrait photographer for five years but has always ‘had cameras around and enjoyed snapping away before taking it more ‘seriously’.
Looking through the images before each session, I appreciated the love, care and attention to detail that had gone into each image. I could see why she has a successful equine portrait business, and as a horse owner myself, I’d imagine her clients are delighted by the way she captures the character and the relationships between horse and rider. Fiona has been entering IOM for a few months and is keen to develop her consistency, so we looked at her images with an eye towards how to make improvements that could elevate the images from professional to award-winning. I hope you enjoy this look behind the scenes of a mentor session. It will show you that sometimes, very small things can make a difference in how the viewer reads the images.
As often the case, I could see a number of images that exhibited similar aspects that could be elevated. These first three images are beautifully composed; there are no distractions. The horses both look relaxed, and the depth of field, sharpness, and overall exposure of both images are great. However, the chosen crop was not optimising the chosen compositions. In all cases, that light fall off over the horse’s back end was quite strong, and the horse’s back end was not separated with lighting from its background. In addition, in the white-grey horse image, we discussed how the light on the horse’s left-hand side competed with its head.
For this first image, I slightly increased the canvas size just to allow the top of the neck ribbons a little extra space. We then looked at using a linear gradient to reduce the severity of light dropoff at the back of the photo. I was working with a Jpeg, but this extra light brought the hind leg of the horse’s back into visibility, which I felt helped. These are all quite subtle changes, but ones that increase the overall feel of the image.
Fiona’s starting image
Image to show areas addressed
Image with suggested edits
For this next image, I created a larger canvas to allow me to explore other crop possibilities. I felt the dark right-hand side was creating width in the image that did not optimise the horse’s beautiful shape.
By cropping to 10x8 dimensions, the eye, ear, and mouth lines became more important in the frame. We then looked at where the eye was falling and did localised dodging and burning. Lifting a little light on the right-hand side shoulder, the cheekbone, and a little on the neck. We burned the light a little on the belly and neck crest.
This resulted in a more balanced image where the eye fell on the most important elements within the image.
Suggested edits
Fiona’s starting image
The changes suggested for the last of these three images were again quite subtle. Giving the ears a little more wiggle room and moving from a 6x4 to a 7x5 crop dimension to give the horse a more solid feel rather than tall and skinny.
I felt some localised burning of areas that were drawing the eye, such as the forelock and the shoulder on the left-hand side. A little lifting of the shadows on the back end of the horse is needed to be able to see the shape of the edge of his body and around the eye area.
Edited image
The following image we looked at was a lovely outdoor natural portrait – had this been my pony and me, I would have loved it. However, there were a few minor adjustments I thought could elevate it.
Once again, I felt there was an opportunity to explore the crop. Having the horse head and person dead centre meant there was nearly 1/3 of the image to the left, which did not add to the story. By looking to bring the horse’s head onto the left-hand side 3rds line, the composition increased in strength.
A couple of little things that would not matter to a client but could affect competition scoring were the two bright poppies encroaching over the horse, as shown in the suggested edits image. And also the brightness of the horse’s white patch on its back.
Some small adjustments to these all increased the strength of the image.
Suggested edits
Fiona’s starting image
Edited image
The last image of the 1st session was this whimsical portrait in the flower field. I loved the feel of the image, but the out-of-focus foreground was proving a bit distracting as a competition image. I also felt the image could use a little contrast and possibly a small vignette to darken the edges to give the viewer a clear location to look, and there are many very light points in this image within the flowers, where I felt my eye should not be pulled too.
Fiona’s starting image
Edited image
In the next feedback session, we looked at some more images.
The first image was another lovely portrait of a pony and its owner. I love the background and the way the relationship is shown within the frame. Once again, the crop was just a tiny bit tight on the top and to the right. I also noticed that the nose of the pony was not fully in focus.
I also suggested exploring this pose with the person’s body turned slightly more towards the pony rather than completely in the opposite direction to create even more of a story of the relationship.
We discussed this image in depth. Although I love the image, the angle from which it was taken did not accentuate the horse’s athletic body. We looked at various alternative crop options, but the balance of the image remained the same.
This is an example of a discussion in a feedback or mentoring session that is less about how to improve a specific image and more about things to consider next time you are out photographing.
In this case, Fiona has an increased awareness of how to look and check that she is standing in the optimum location to optimise the horse’s body shape.
Another lovely portrait.
I really liked the crop and the colour and backdrop. However, I felt that the lighter areas in the blossom at the top of the image were distracting.
To try and direct the eye, I suggested reducing the highlights a little to bring back some detail. Then to bring a little more light to the person’s face.
Small things, but again, changes that help direct the viewer to look where you want them to.
Fiona’s starting image
Unlike most of Fiona’s other work, I felt the following image showed a less relaxed horse in front of the camera. The ear position and sharp neck bend made the image feel a little uncomfortable to me. The way the point of the shoulder on the left-hand side stuck out to a point was also distracting. The image felt flat and grey all over. So we had an experiment with crop – this is not perfect, as I would have preferred not to see the white in the bottom left corner – but this is something to correct with the positioning when making the image. I then showed Fiona that increasing the whites in the image could achieve a greater feeling of depth and clarity (without any form of sharpening).
Edited image
Fiona’s starting image
Edited image
The last image we looked at was another portrait of a horse and its owner. I felt there were a few things Fiona could consider for future shoots like this. The first being aware of having blank skies – these never add to images for the purpose of competition entries. The second is being careful that the background or surrounding area does not compete with the subject (here, the oil seed rape flowers were easily the brightest points in the image). Ensure that the lighting on your subject draws the attention of the viewer. Here, the face of the person was lost in the image as she seemed to merge tonally with the horse. Lastly, think about the post-processing you are using. I felt the brown sepia tones reduced the tonality of the image overall.
Edited image
THE TAKEAWAY POINTS FROM THESE FEEDBACK SESSIONS WITH FIONA WERE:
• Ensure you give your subjects enough space to feel comfortable in the frame. I often imagine putting the image in a mount, losing a tiny bit off all the edges in the process, and then seeing if it still feels comfortable.
• Crop to bring elements you want to draw attention to onto ‘thirds lines’ to strengthen compositions.
• Try to stop your location or background from dominating the image.
• Think about the posing of the horse and person during the shoot to accentuate the best attributes.
• Look out for distractions.
• With black background images – ensure the lighting wraps around the horse.
Fiona said:
‘I have found the feedback sessions invaluable in helping me train my eye for creating competition-grade images. The sessions help, in a positive manner, highlight any mistakes and small adjustments that can be made to my images to progress them further up the levels - I always leave the sessions feeling motivated and inspired to push my work forward. I have already seen an improvement in my IOM images since my first mentoring session, and I look forward to seeing how far my work can progress in the coming year!’
And the best news, in the most recent IOM, Fiona achieved gold for one of her horse images. Congratulations, Fiona; I look forward to hearing you also have your qualification soon.
- Charlotte Bellamy
www.charlottebellamy.com
Photo: Fiona Moore
Photo: Morag Forbes
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Photo: Barrie Spence
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Photo: Emma Finch
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Help! Why SEO Isn’t Working on Your Website & How to Fix It!
Search Engine Optimization (SEO) is crucial for boosting your website’s visibility in search engine results. However, many website owners find their SEO efforts falling short despite adhering to guidelines and investing substantial resources. Understanding why SEO might not be working for your site is essential. Here are some insights into potential issues, with a focus on the problem of duplicated content from having both an old and a new site live on the internet.
CONTENT QUALITY
The quality of your website’s content plays a significant role in effective SEO. Search engines prioritise original, relevant, and valuable content. Thin, duplicated, or irrelevant content can result in poor rankings. Regularly updating your content to keep it fresh and engaging is essential. Stagnant content with outdated information can drive users away.
Websites with in-depth information perform better. Superficial content that lacks depth may not satisfy user intent, resulting in lower rankings. Conducting thorough research
and providing detailed, insightful content can significantly enhance your site’s SEO performance. Quality content attracts search engine attention and keeps visitors engaged, reducing bounce rates and encouraging longer visit durations—both positive signals to search engines.
TECHNICAL SEO PROBLEMS
Technical SEO issues can severely impact your website’s performance. Problems like slow loading speeds, broken links, or a non-mobilefriendly design can negatively affect rankings. Search engines aim to provide users with the best experience, so websites that are not optimised for performance and have a poor user experience are often penalised. Ensuring your website is secure (indicated by HTTPS) is also crucial.
A particularly significant issue is having multiple versions of the same content, especially if you have an old site and a new site that are both live on the internet, which can and do need to be clarified for search engines, leading to lower
rankings. If your old site still dominates search due to its established authority, it can split your link equity and harm your search engine rankings. It’s essential to properly manage site transitions and ensure that the old site is either redirected or removed to prevent these issues. Check for and fix any technical issues, such as broken links or 404 errors, regularly, which can disrupt the user experience and hinder search engine crawling.
COMPETITIVE NICHES AND KEYWORD STRATEGY
Even well-optimised websites can struggle to achieve high rankings in highly competitive niches. Large, established websites with extensive backlink profiles and substantial resources can dominate search results, making it challenging for smaller or newer sites. Targeting more specific long-tail keywords can be a more effective strategy. Long-tail keywords can have a lower search volume but often attract more qualified traffic and can be easier to rank for. Carry out keyword research for your niche to keep your site up-to-date and help with SEO optimisation. If you target keywords that are too competitive or irrelevant to your audience may produce different results.
Try to avoid keyword stuffing and overloading a web page or website with keywords in an attempt to manipulate its ranking. This often leads to a negative user experience and search engine penalties. Instead, focus on natural keyword integration into your content to enhance user experience and support better SEO outcomes.
LINK BUILDING
Poorly executed link building is another potential issue. Backlinks from reputable websites are a key ranking factor, but the emphasis should be on quality rather than quantity. Links from lowquality or irrelevant sites can do more harm than good. Focus on earning links from authoritative sites within your industry through strategies like guest blogging, partnerships, and producing shareable, high-quality content. Regularly check your backlinks profile to identify and reject toxic links is also beneficial.
USER ENGAGEMENT AND EXPERIENCE
High bounce rates, low average session durations, and minimal user interaction can
signal to search engines that your site needs to provide more valuable content and a better user experience. Improving site navigation, enhancing content quality, and ensuring your website is visually appealing and easy to use.
A well-designed, user-friendly website not only pleases visitors but encourages them to explore more pages, increasing the likelihood of conversions. A clear menu on your website helps visitors to easily naviagate the site.
Incorporate calls-to-action (CTAs) to guide users towards desired actions, such as booking an appointment, contacting you, signing up for a newsletter or booking your services.
CONCLUSION
If your SEO is not working and failing to give you results consider conducting a comprehensive audit of your website. Consider factors such as content quality, technical SEO, keyword strategy, link building, user engagement, and staying current with SEO trends. Addressing these potential issues and continuously optimising your site can improve your chances of achieving better SEO results, rankings and driving more organic traffic to your website..
DUPLICATED CONTENT
One of the critical aspects an audit will address is duplicated content, especially when both an old and a new site are live on the internet. This situation can create confusion for search engines, leading to lower rankings as they need help determining which version of your content to prioritise.
If your old wesite has been on the internet for several years it will still hold significant authority and can overshadow your new site, splitting link equity, content, images, media and will harm overall SEO performance.
It’s essential to manage this transition carefully, ensuring that the old site is either redirected (301) or removed to consolidate your SEO efforts.
(A 301 redirect indicates a permanent move from one URL to another, ensuring that all visitors trying to access the old site are automatically redirected to the new one. This type of redirect transfers all the old URL’s ranking authority to the new URL and is typically employed when a webpage is permanently relocated or deleted from a site.)
PROFESSIONAL AUDIT
Having a Professional Audit carried out on your site is invaluable.
An SEO Audit provides detailed insights and identifies specific issues that need attention. While it may involve an upfront cost, the benefits far outweigh the expense. A thorough, professional audit will equip you with the information you need to improve effectively and strategically enhance your site’s performance.
OPTIMISING IMAGES + ALT TEXT
Another common issue is the absence of alt text for images and the use of non-descriptive image file names like “IMG1234.jpg.” Alt text helps search engines understand the content of an image, improving the image’s visibility in search results. Additionally, alt text is crucial for Accessibility, allowing visually impaired users to understand the content through screen readers. Ensuring all images have descriptive, keywordrich alt text can enhance your site’s SEO and user experience. Renaming image files to be descriptive rather than generic can also help improve search engine understanding and indexing of your multimedia content.
SEO is complex and requires a balanced approach and continuous adaptation. Understanding the factors influencing your site’s performance and addressing them proactively can build a strong foundation for long-term SEO success.
Photo: Clare Perry
Photo: Lena Lewis
June 2024
Lesley Warrington
Qualified Guild Photographer
Photo: Magda Bright
DOCKCASE DPR81F SMART HUB & CARD READER REVIEW
History
Dockcase was originally set up in 2016 and was a very highly-funded Kickstarter project exceeding their target by 495%. This is their 12th project on Kickstarter (all of which have more than doubled their funding requests). They have a previous history of producing great value products at reasonable prices so I was keen to test the newest iteration of a card reader and dock all-in-one that’s made in a handy carry-everywhere size.
Peter Morgan Canon Educator
The Product & Build Quality
Sent in a relatively plain design but Apple-style premium packaging, it comes only with a 40gbps/100w patch USB-C cable in black. I would have liked to have seen a quick start guide included or maybe a QR code where I could be directed to one online but nothing was included. This feels like a premium product partly due to the weight and the metal build quality rather than cheap plastic but I would have liked to have seen a quick start guide with it included or maybe a link to other products they do and they have missed a trick not including one here.
Plus on the Kickstarter site, there’s a bag shown to come with it though nothing was included in our test model. With a shiny touchscreen, you don’t want it getting scratched in a bag so this would be a must for inclusion with the finalised product. In black this looks sleek.
This has an 8-in-one slot operation with a touchscreen information/swipe replacement for a standard analogue key which is responsive and works well.
The slots included are as follows
• HDMI (4K 120hz Display)
• UHS-II
• CF Express Type A
• CF Express Type B
• USB-A
• USB-C
• USB-C (100w Power)
• MicroSD Transflash (TF)
This is impressive simply because I can carry around 1 small dock rather than 2 or 3 separate card readers (normally I’ll have an HDMI to USB-C Connector plus CF Express and a Standard card reader in my bag).
This is impressive simply because I can carry around one small dock rather than two or three separate card readers (normally I’ll have an HDMI to USB-C connector plus CFexpress and a standard card reader in my bag).
Features
The beauty of this device is that it has all of these ports in one unit. I love that idea and will certainly be using this out in the field more. The one thing I did notice when connecting the USB-C charger and HDMI was that it got hot. Not massively but about 45-50 degrees which is I’m informed within standard operating tolerances.
The underside has a ridged aluminium surface which helps disperse the heat but it’s just my personal opinion here and caused no real issues. The transfer speeds were fast but not as fast as some of the other standalone card readers I have, the tests of which are all to follow.
All tests were conducted using Lexar memory cards, specifically a Lexar 128GB Professional CFexpress Type B Card GOLD Series a Lexar 128GB Professional 2000x UHS-II SDXC Memory Card and a 3.6ghz 8 core intel i9 IMac 2019 with 64GB RAM and a 1TB SSD on OS Sonoma 14.5. I use the Blackmagic Design Speed Test App which can be downloaded for free from the App Store or Black Magic’s website. I also used the same (included) cable in all the tests to minimise cable faults or differing speeds due to different cable lengths, speeds or quality.
The first speed test was done using the Lexar 128GB Professional CFexpress Type B Card GOLD Series card since this is the one I use and keep in my Canon R5 I was keen to see how the dock compares to my regular Sandisk Card (A SanDisk Extreme Pro) reader that only reads CFexpress Type B and has no other ports on it.
The Dockcase unit was first tested see results
As you can see, not significantly different but enough that if you were buying this for transfer speeds alone you might consider a single faster standalone unit. The same was, in fact, the truth when testing with the Lexar 128GB Professional 2000x UHS-II SDXC Memory Card against the Lexar LRW500U Card Reader, which produced speeds again slightly faster.
The above was the Dockcase, Below, are the real-time results from the Lexar LRW500U Card Reader.
The Speeds that the Dockcase produced were slightly (but not significantly) lower but not enough for me to consider leaving it at home.
Below are the test results for the SanDisk Extreme Pro
The Lexar card reader was more than double the read speed on average and almost 80mbps slower on the write but given the circumstances, I realise that a product is more than just read-write speeds and I realise it’s good to look at all these factors when making an informed choice and buying a new product.
Summary
What I liked about this.
Would I buy one of these? Yes, I would and I’m recommending it because it’s a singledesigned sleek unit with all the card ports and connectors you’re going to need for the foreseeable future so I don’t find myself having to carry lots of dongles and additional card readers around then. It’s got a great look, it’s authentically heavy enough to feel like a quality build too.
What could be improved?
It’s not the fastest card reader out there on the market and I’d like to see a carry case or a bag included with it to stop the screen being scratched in a laptop bag or even it scratching other devices. I wouldn’t even have minded if it was available as a separate purchase. The ability to be able to change colour themes on the device (maybe a matrix-style green or mono theme or a blue or green or orange theme might be nice but not essential to the workings of it). They need a quick start guide or a link to one in the case or even a QR code on the inside of the box it feels incomplete without one.
You can find Dockcase and all the information about it and other products here.
The Kickstarter campaign lists the product as being available from $159 which is about £126 in Sterling and comes with a 240w 40GBPS braided cable with fulfillment in August this year.
The link to all Dockcase other products on Amazon is here
- Peter Morgan
Photo: Joanne Eastope
Photo: Malcolm Jenkins
Pages 96 - 99
TW // Depression | CW // Depression
A Hidden Community
Portraits of Strength & Resilience
Jennifer Charlton
BA (Hons) Professional Photography
Edinburgh College
Instagram @jennifercharltonphotography
Introduction
“ In her poignant photo essay, Jennifer Charlton delves deep into the often unseen lives of individuals grappling with mental health issues.
Through her lens, Jennifer reveals the faces and the stories of those who courageously step forward to share their experiences. Each photograph is accompanied by a narrative that sheds light on their journey, offering a glimpse into the profound impact of living within a hidden community. This collection is not just a visual account; it is a powerful testament to the strength and resilience of individuals who, despite the challenges, strive for compassion, self-acceptance, and a sense of belonging.
Explore these evocative portraits and the unique stories they tell, fostering a deeper understanding and appreciation of a community bound by shared vulnerability and unwavering support.
As Jennifer so eloquently states, “There will eventually be an end to the stigmatisation of Mental Health Issues when brave sufferers step forward, enabling transparency and the growth of a beautiful Community where judgement does not exist, only support and compassion.”
- Editor
Jim
“‘Whilst serving in the Airborne Forces I sustained a near fatal accident when my parachute failed to open, I had to learn to walk again and now wear a leg brace. I was able to return to duty and suffered from PTSD, survivors’ guilt after seeing friends die in Iraq that should not even have been there. I was behaving like I had a death wish, I needed adrenaline, going out looking for violence.
Then the charities Combat Stress and Help for Heroes turned my life around, I was with men who all had the same dark sense of humour you only get within the Armed Forces. I then set up the charity Wounded Highlanders where we compete in highland games, have gone
on to win world records and I have found something that not only helps others, but I can now channel all my energy into something with a positive outcome’.
John
“ I was bullied in school, I was lanky and smart, liked reading and got picked on for that. Then In Covid I was depressed because swimming was my outlet and the pool closed. Swimming is the only thing I want to do; I train seven times a week and I am in the gym three or four times a week. I was feeling good then after starting Uni My granny died and I kept feeling like I was in this hole, no matter how hard I tried to scramble out, I just kept sinking further and further. In October I tried to commit suicide’.
Sarah
“The crisis comes when I suffer burnout. To have an ADHD diagnosis would validate my whole being, It would answer all the questions I’ve had my whole life, I would stop constantly doubting myself and beating myself up. It would give me the ability to manage my situation because I would know what I am dealing with and be less of a drain on the NHS. The constant conversations and thoughts in my head go quiet when I am at the beach. The wind is in your face, you have to breathe, the breeze and sound of the sea eases my anxiety and quietens my thoughts.”
JJ
“ I started having mental health issues two years ago when I was fifteen. I had a lot going on, and the doctor referred me to CAMHS. I go out on my Enduro bike around the fields 3-4 times a week and compete in competitions during the summer season. Riding the bike to its limit gives me a rush of fear, adrenaline, relief and a feeling of complete freedom. Pushing beyond my comfort zone improves me as a rider and gives me self-confidence. If I had to sell my bike tomorrow, I would be devastated.”
Katy
‘I used to think I had to be strong all the time, but I don’t feel like that anymore…. I’ve had my heart broken It’s awful I feel like I just can’t let anyone in…… and I can’t do it again because you feel like you’re going to die.
I’ve seen me on bad days, mid-workout, bursting into tears, crying in the middle of the workout, with Cross Fit I feel like I just found my home.
Picking up a barbell has made me mentally and physically strong.”
Seona
“ I had a sort of nervous breakdown; I have always had a stressful life, even growing up, but I have always coped. I didn’t understand why, and all of a sudden, I fell to bits. I was suicidal.
The medics said that because I’m so resilient, normally, when you fall to bits, you really fall to bits. I was having this horrible feeling of despair and distress, and I just wanted it to stop. I thought if I just drove into that oncoming traffic if I picked a big enough vehicle, that would finish me off.
The only thing that stopped me was not being here for the kids, so I just took my sedation, and I went inside and laid on the bed and cried for hours.”
Heather
“ The depression comes in waves; I feel so fragile; any confrontation totally screws me up to the point where I feel sick. Just one person, that’s all it takes.
At home, I tend to put a lot of pressure on myself to make sure I do something perfectly, which leads to procrastination and anxiety.
On other days, I just want to hide because I must paint on a smile; it’s exhausting.
With the sewing, there’s a feeling of calm and peace, no harassment, and no massive expectations. There’s a sense of achievement and helping others; it’s good for my self-esteem and confidence. To sit with other women just chatting and sewing, to be part of something.
“ We are living amongst a secret society, mental Health does not discriminate, and we are surrounded by neighbours and loved ones isolated from one another, deprived of all the benefits being part of a community bestowed upon us.
A lonely and insular existence of shame and inequality can be gently transformed into one of compassion and self-acceptance when we find the courage and generosity to share our stories and reveal our vulnerabilities with others.
There will eventually be an end to the stigmatisation of Mental Health Issues when brave sufferers step forward, enabling transparency and the growth of a beautiful Community where judgement does not exist, only support and compassion.
So far, the series of images won runner-up in the Photo North student competition in Leeds, where they were exhibited; they also made the AOP Student Finals in London and exhibited in Shoreditch, and one of the images has been shortlisted for the Scottish portrait Award with two others long-listed for the SPA (Finals in September). They are also going to be put into a permanent exhibition in Birmingham.
The series resulted from a research module, Photography In Context, accompanied by a critical essay investigating photography’s role, entitled “Has photography evolved from documenting and potentially stigmatising mental illness in contemporary practice?’.
This module earned me an A+, and I received news that I have been awarded a FIRST CLASS Bachelor of Arts with Honours in Professional Photography.”
- Jennifer Charlton
Photo: Vivien Buckley
Photo: Rob Bentley
Photo: Steve Jones
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