Photonews Autumn 2015 by PPC Photonews

P h o t o n e w s Autumn 2015

Photonews Autumn 2015

Welcome … … to the Autumn issue of Photonews, the journal of the Postal Photographic Club. As always, I would like to extend my very grateful thanks to everyone who has helped with this issue.

In this issue we have the first part of a very comprehensive two-part natural history close-up and macro article from Eric Ladbury. This has been a true labour of love for Eric and we have kept each others Inboxes pretty busy as we’ve pulled the finished piece together. We both hope you will feel it worthwhile when you turn to page 6. In keeping with the close-up theme the Opening Shot on page 3 is an image from Sally Anderson entitled “Raindrops” and you cannot have missed the Nursery Web spider adorning our front page courtesy of Stephen Yates. We have a lot of very good natural history photographers within the club so if this whets your appetite why not consider joining Internet Circle 4 which is dedicated to the craft and share your expertise or perhaps learn from some excellent practitioners of the genre. As this is the last issue before the annual Rally we have included a brief introduction to the photographic delights of Snowdonia. Once the venue for 2016 is known I will be looking for a volunteer to produce an appropriate guide for next year. This has been another bumper issue and for reasons of space I have had to hold over a profile of General Secretary John Kay until the Winter issue. The final issue of the year is already taking shape and we have commissioned some interesting items for your pre-Christmas reading. It looks like a bumper issue. However, I am always on the look out for material especially on subjects that you find interesting - I cannot possibly know all of your specialist subjects so would urge you to get in contact and would repeat my oft-heard offer that I am more than happy to ghost write any article from your notes or even a conversation if that makes it easier. Don’t be shy - email me at editor@postalphotoclub.org.uk Until next time - I hope you enjoy this latest issue.

Photonews is published four times a year. All rights reserved. All materials copyright The Postal Photographic Club and/or the authors. Any opinion or statement expressed by the author of any article published in this magazine does not necessarily reflect the views of The Postal Photographic Club, the editor, or its members. Cover photo: Nursery Web Spider guarding egg sack © Stephen Yates 2

Opening Shot I noticed the rain collecting in the centre of the lupin leaves and then rolling off. I wanted to catch the moment it rolled off, but after trying for quite a while, decided I’d go for a smaller raindrop running down to the centre of the leaf. “Raindrops” by Sally Anderson was one of July’s “Images of the Month” on the club forum selected by Clive Piggott

Photonews

Contents

The journal of the Postal Photographic Club

Autumn 2015

Featured Articles 6 - Natural history close-up and macro images Eric Ladbury

28 - Photography in the Gulf John Pattison 38 - Pop Weatherall Cup Winner 2015 Graham Harvey 40 - Snowdonia National Park 41 - From the HPCC/PPC Archives 44 - Product Review: Nikon R1 Dave Whenham

All images ÂŠ the author

41 http://www.postalphotoclub.org.uk http://forum.postalphotoclub.org.uk editor@postalphotoclub.org.uk https://www.facebook.com/pages/The-Postal-Photographic-Club/ 227877620675501

Regulars Club Matters - 5, 27, 47 PPC Website - 43 PPC Forum - 42 Classic Cameras - 25 Ericâ&#x20AC;&#x2122;s Corner - 48

Club Matters Looking back at last summer’s Photonews I can see that I was writing about the importance of reading everyone’s comments in the monthly folios - not just the ones about your own photos. Comparing your own comments with those of the other circle members hopefully means that you benefit from a range of opinions, even if you do not agree with them. I did not mention scoring in the article but I know that ‘Guidelines for Marking’ has been a topic that has been creating a lot of interest on the PPC Forum; so much so that it will be on the agenda when the committee meets during the rally weekend. I don’t know when the awarding of marks for photographs started, probably in Victorian times when the first camera clubs were formed; the debate about scoring has been going on ever since! Do you mark out of 5, 10 or 20? Can you have half marks? Should you give the maximum possible mark to your favourite image and then work downwards, or is 10/10 only for perfection? Work to a standard formula, based on technical and artistic criteria or use a system built on your own experience? Simply order them in order of preference or ….. I am sure you could add more to the list. Why do we have a marking system? The Overview section of The Club Rules requires members to give a written appreciation and comment on the folio images, and to arrange the images in order of merit by assigning scores; in order to strengthen their ability to evaluate good work. I think most people would agree that it is a good objective, but what is clear is that there is no perfect system and it will be nigh on impossible to specify a marking method that suited everyone. Note that there is no mention of it being a competition; nevertheless it has to be acknowledged that having an element of competition is important to many people.

John Kay, General Secretary

At the moment all of the PPC circles have scoring systems and most circles show all of the marks given. The number of points and method of averaging them to produce the score sheet varies - it is up to the Circle Secretary to use a system that they prefer and has the approval of their circle members. Several comments in the Club Forum, correctly note that the Founders Cup Competition needs to have the top three prints/ DPIs from every round of every circle, so having non-scoring circles is unlikely to be approved. Hopefully some broad guidelines on selecting the monthly top three will result from the meeting, but in the end it is up to each circle to agree on the way that they select the favourites from each round. The committee meeting is on the 11th October; I would encourage you all to take a look at the comments on the Forum and add to the on-line discussion, debate it in your circle notebook or mail your Circle Secretary with your suggestions. Bill Talbot I am sorry to advise that Bill Talbot, an Honorary Life Member of the club, has died at the age of 90. Bill's health had deteriorated in the last couple of years and I know that he enjoyed receiving his copies of Photonews up to that time. He was Club President from the late 1970's up to 1986 and used to organise our Annual Rally when it was a day event in Warwick. Bill was also one of the founder members of the club's first colour print circle - all home processed wet prints in those days! We do have a few examples of Bill's colour prints in the Club Archive but they have not aged well, despite being kept in a dry and dark storage area. I am in contact with his family so there may be a chance that there will be some other material available for the archive; I am told that he was a hoarder "and never threw anything away". 5

Eric Ladbury

The idea of getting closer photographs of any subject is intriguing especially if one has not viewed an insect close-to before. The detail of both the physical make-up of the subject and the stunning range of colours add another dimension to Natural History photography. Just what is “close-up” and “macro” photography? Well the simple explanation is: • CLOSE-UP = anything usually from “1 to 5” to “1 to 2”. The size of the original is equal to a fifth to half life size, thus an object one inch long is depicted on the capture media as one fifth to half an inch in length respectively. • MACRO = 1 to 1 - the size of the original is equalled in the capture array or film base, thus an object one inch long is depicted on the capture media as one inch long on the preferred array. This is not the size as viewed on a screen or monitor or any other viewing device. This enlarged view is simply magnification of the original, but this can be important for reference such as an entry in a technical article or book where indication of original size is important. Here I am just going to concentrate on skills, technique and gear required for close-up and macro work. Going closer still, beyond twice life size capture is normally known as “MICRO-photography”, and is achieved by very specialist equipment such as ultra close (micro) lenses or viewed through a microscope system, with a camera body attached to the eyepiece tube of the microscope. An easy entry into this world of intriguing imagery can be made by using supplementary filters, similar to a magnifying glass to look at, which is held, in front of a normal lens either by a threaded ring or a filter holder Cokin or Lee style. This is the cheapest method other than holding a true magnifying glass affront the lens. Advantages are the low cost and weight of the add-on; disadvantages are poor quality of image and nearness to the subject to the front of the lens. A second basic route to close-up work is to employ extension tubes. These are hollow glassless tubes usually metal, which come in three various lengths. They fit between the

Garden Spider. All images © Eric Ladbury unless stated

Eric Ladbury

camera body and the lens of choice, normally a standard prime, although any lens can be used including zoom type. The tubes can be used singly or as multiple units stacked together. Their objective is to separate the distance between lens and camera, thus bringing the subject matter closer (photographically), to the capture array by enlarging the image. Two main advantages are, one, the cost is reasonably cheap, and second, the various combinations of different tubes allow a variety of enlargements of the subject. The disadvantages are the view finder and/or screen darken considerably and the distance between the front of the lens and the actual subject is quite small, which could spook the insect, also they are a little clumsy to use, particularly in the field. The multiplier or converter is a modified “tube” fitted with a glass lens, of various components, which similar to the extension tubes above, are placed between lens and camera body, and usually one of three strengths; either 1.4, 2, or 3x (times), creating a lens of extra reach by the multiplying of the Ringlet Butterfly different amounts. Thus a 100mm lens with a 1.4 multiplier would become a 140mm lens on a full frame camera. The advantage of this is in “bringing” the subject closer so enlarging it. However as above the viewing darkens, also the unit can more often than not only be used on certain lenses designated by the manufacturer normally the longer and larger “f” stop variety lens. They are more expensive than the tubes and “own” brands are even more so. Another approach is to reverse the standard lens by using an adaptor ring fitted to the filter thread. One side being the same as the filter thread on the front of the lens and the other the camera body fitting connection mount, e.g. Canon or Nikon etc. This takes the image at a much higher magnification and with far better quality at low outlay, but without a special link (very expensive), all control of the lens and feed back is lost. A similar method to above is to keep the standard lens in place and link a second lens (either from an older system or any second-hand lens not necessarily of the same manufacture), being placed in reverse linking via the filter threads of each lens with a special adaptor. The best way forward, funds permitting, as these lenses can be rather pricier than standard type lenses; is to use a specially designed lens for macro work. This is not a zoom lens usually with the words “macro” or similar, engraved on the barrel which gives, at best 1:5 or one fifth of true size, but a true macro should allow 1:1 or full reproduction size and is a prime lens, being only one focal length and focus’s from macro to infinity. Occasionally some of the older true macro lenses will only give 1:2 or half life size without an extra attachment employed to push it to full, one to one reproduction. They are produced by most camera manufacturers e.g. Canon or Nikon; however independent makers are often as good if not 7

Eric Ladbury

better, such as Sigma or Tamron. They vary in focal length too, including 50mm 60mm, 90mm, 105mm, 150mm or 180mm. Each have benefits; the shorter lens needs to go in closer but the depth of field is greater in comparison, the mid range allow the same size enlargement without approaching too close thus not disturbing the beastie, and lastly the longer (tele) 180mm allows the best separation of photographer from prey thus causing less annoyance to the insect. The main problem is the larger the millimetre the bigger the weight, and so the more difficult it becomes to hand hold a shot. A great advantage of true macro lenses is they produce a “flat” field when focused for close work, so an image, if focused correctly, is sharp across the screen without distortion edge to edge. I do prefer using a 180mm as the chance of disturbing the subject is much lower and so the “hit” rate is greater. However I almost always use this lens with the camera and supplementary battery power unit, supported on a monopod fitted with a “joystick” head. The joystick allows easy movement vertically as well as rotationally without adjusting the monopods leg length. I prefer a monopod with lever releases to each sectional tube as these are easier to handle single handed, compared to models with a twist lock, this allows the other hand to maintain control of the camera. I have read and seen photographers using a tripod for this style of work but as will be seen below my preferred way of shooting excludes this method. The biggest point against a tripod is the disturbance of surrounding undergrowth when approaching the closeness required for the capture of a close-up/macro image. Speaking of disturbance, just how do photographers get so close to their quarry without scaring it into flight? Seven main points to bear in mind are: • Avoid stepping with a heavy tread as the slightest vibration is readily transmitted through the ground and up the host plant to the delicate “receivers” on the body of the target species. So place your feet carefully and I usually scan the route in before an approach. Also avoid sudden movements such as a hand changing position on your equipment. • On sunny days don’t move between the subject and the sun, thus casting a shadow over the prey, thus scaring it into immediate evacuation, often never to be seen again. I have occasionally forgotten about this shadow passing over the subject when walking a track towards the area, so even early approach needs care. Remember most insects have three primitive eyes on the top of their heads and although these “eyes” cannot focus like normal eyes they do pick up a sudden change between light and dark triggering the flight instantly.

Gatekeeper Butterfly 8

Eric Ladbury

• Taking note of eyes, an insect’s vision varies tremendously from species to species; the hunters usually have keener vision and greater distance of view. However treat all with similar weariness by approaching with cunning; by this I mean, as you are say, five yards (metres) away, and in standing mode, move towards the subject, and during your approach reduce your apparent height so becoming apparently half size after say two yards movement by bending at your knees and, getting nearer, go down to crawling mode. The reasoning is this, the insect’s brain cannot work out the fact although you are presenting a “same” size outline to it, and whilst physically becoming closer it has no concept of dimension, perspective or distance. • Avoid wearing bright or light clothing, use dull greens browns or black, not necessarily camouflage as several insects see in UV spectrum so this disguise is not needed. However I also use long sleeve shirts and a hat to cover up light skin areas (and aging white hair), as these too can alert any prey to your presence. In addition, this reduces the area for attacking stingers to locate your skin surface. • I advise not wearing any “aftershave” or “perfume” as strong odours are a sure giveaway to many animals of an aliens’ (us), approaching, alerting them of the presence of food (blood). However I do use one of two good quality “insect repellents”. Both are not truly straight forward insect repellents; the first, Avon’s “Skin So Soft” original skin care product has some properties to deter midge like flies; second is “Smidge” a repellent, this has been developed to discourage those nasty Scottish Midges the Tourist Board don’t tell us about! It’s powerful and waterproof, and used by the Forestry Commission. In my experience both work to some degree by diverting those pesky buzzing flies and biting midges. • The next two items I always carry as after care medication. Both are for external use; first, “After Bite” a tube of fluid which is applied through a fixed pad, second, “Zap-It” a mosquito bite relief, an electronic gadget applied by several presses of a button. Both stop

Teneral Male Common Blue Damselfly brown 9

Eric Ladbury

itching and reduce swelling by soothing the bite area. PLEASE read the instructions and handle responsibly when using either product, and seek medical attention should there be any adverse reaction. • Often this style of photography is attempted in “wet” conditions, such as dew sodden grasses at dawn or during or after rain. To make life easier I carry a couple of items in my camera bag, a pair of lightweight waterproof over-trousers, and a sheet of waterproof material such as an old rain coat cut up or length of lightweight groundsheet. The trews allow crawling around the undergrowth whilst the sheet protects when laying down for a flies knee high shot. Also desirable is some knowledge of the subject pursued, by watching the species for long periods to learn their habits. The use of good quality “Species” guide books, although a “general” insect guide will give quick basic reference in the field are useful for recognising which species you encounter. These along with chatting to like minded photographers and joining your local Natural History group will increase knowledge of both species and location of suitable sites. In addition of course joining IC4 Natural History Circle will help expand information of subjects and camera control, with advice and help from their friendly established members. Next let’s consider the quality of image we are pursuing, assuming a basic knowledge of composition and technical control is already understood, what is required artistically? The two main areas of concern are depth of field, how much of the subject is in sharp focus or not, and what state is the background showing? Is it obtrusive or supportive? Once a subject has accepted your presence it is often easy to alter the position the picture is taken from, even approaching much closer for that extreme close-up showing high detail of the insect’s wonderful design. On occasions I have stayed with the same subject for over half an hour, leaving the insect exactly as it was found thirty minutes earlier, happily following its daily life. On the following pages are some panels giving guides to my views and experience of preferred options, both for presentation and competition needs, along with practical tips and skills. However, let us start by looking at the equipment I use and have used in the past.

Speckled Wood Butterfly on Grass

Equipment

Eric Ladbury

FULL MACRO SPECIALIST LENS (Image 1) These specialist macro lenses are from left to right; Sigma 180mm f3.5, Elicar 90mm f2.5, and Tamron 90mm f2.8. All three are manufactured by independent lens companies and produce images of varying quality being equal too or better than “own” brand makes. However all three are far better than any of the combinations of own brand or independent “normal” lens coupled with the different auxiliary methods of obtaining a close-up or macro picture. The biggest point against all macro lenses is the cost they increase in price the longer the focal length purchased. Other features to bear in mind are once going beyond a 50mm or 60mm macro lens the weight increases relative to the focal length, hence the Sigma 180mm has more issues with being handheld, however I prefer to use the 180mm with a monopod set-up. The big advantage of all these lenses is they have a flat field plane unlike standard or short telephoto lenses which have curved field, and thus present an image without distortion.

CLOSE-UP LENS (FILTERS) (Images 2 & 3) Not strictly a filter but usually known as such, these are typically bought as a single lens to fit the filter thread of your lens. They can be of various strengths (or dioptre), from 1x to 4x in most cases, one being the weakest and four the most powerful here. Any standard or medium telephoto lens will be suitable for adapting in this way, simply screw on the close-up lens (filter) to the front of the lens. This can of course be changed as required to a stronger dioptre lens. The company S.R.B., are specialists in making and providing lens adapters to modify the “standard” gear most of us own, and amongst their products is a set of four strengths of filters in dioptres 1, 2, 3, and 4 in convenient rollup canvas pouch handy to put in your pocket or bag. Looking at the two images left it can be seen I use the “Cokin” style filter holder, this allows quicker changing of filters. However to fit a normal threaded filter I fit Cokin type adapter onto the filter to slot it into the closest slot to the lens. Whist mentioning square filter systems, most manufacturers sell one or more close up filters to fit this system. Then again a set of S.R.B.s filters plus their adaptors works out cheaper especially if you factor in the fact they will fit various sized lenses, increasing value. EXTENSION TUBE and EXTENDERS (Image 4) Extension tubes and extenders/converters (either name is correct depending on the manufacturer of the item), are both used in a similar way by placing the selected item between the camera body and a standard or short telephoto lens. The tubes usually are supplied either singularly, or in sets of three varying lengths depending on the company used. They put the lens further away from the capture array (film plane), thus enlarging the image taken. They cause the viewfinder to get darker the more the lens is “pushed” away by deeper tubes the harder it becomes to see the subject. However live view would alleviate this problem but it does mean a lack of mobility. Extenders and converters work in a similar way to the tubes but contain a lens or group of lenses, to magnify or bring the subject closer, but at a cost of reducing the quality of the image. Both are cheaper, tubes more than extenders, both undercut the price of true macro lenses but don’t match their high quality. 11

Equipment

Eric Ladbury

Web Spider - tetragnatha extensa

REVERSING A LENS (Image 5) When a lens is placed onto a camera body in reverse (there are special adapters to link this), it provides an extremely powerful macro/micro lens depending on the focal length used. I use and old zoom lens 28 - 135 mm which is linked electronically by an “auto focus reversing ring” made by Kooka of China. This allows all the features of the system to record the lens information in the normal way giving full diaphragm control. FINALLY ~ DON’T FORGET (Images 6 & 7) Remember to include some form of cleaning equipment for your gear as things can get steamy very quickly in the “wild”. Also for comfort and relief put some form of insect repellent and after sting care in you bag or pocket. Just in case!!! 12

Equipment 1 1] I use either a Manfrotto monopod with a joystick head fitted (L), or a converted old (broken) Uni-loc tripod (R), with two legs removed. These two are used for most of the insect images I shoot they have reasonable manoeuvrability in tight situations. The Uni-loc has a greater height and bends in the middle to reach over obstacles, say a bush. Itâ&#x20AC;&#x2122;s now fitted with a bike wheel quick release hub cut down, to lock the angle joint.

Eric Ladbury

2] The Manfrotto joystick head combined with the 180mm lensâ&#x20AC;&#x2122; mount gives almost 360 degrees of rotation by both the movement of the joystick and the rotation of lens (and body) in its collar. This gives exceedingly easy adjustment lining up the image when in close, with very little physical movement of the hands thus not alarming the insect unduly

3] This is my set-up for general transportation of the heavy gear I now carry into the wilds. I use to carry all the gear on my back in the pack but due to age and an ailing back I cannot manage this anymore, thus the trolley system. This trolley is more rugged than the built-in type plus this can be loaded with additional luggage or the fitted bag can be removed totally to carry in the normal back-pack style. It works well, even to my surprise, when confronted with a stile as the handle collapses to aid lifting and placing on the other side of the fence. The system leaning on the bag is my standard set-up for close work, pointing out of the pocket is a couple of my black/white/grey cards. These cards act variously as a grey metering card, a reflective white card and a black lens hood. The French Flag (black card) I have used since the 1980s not using a normal hood since, finding this much better for reducing flare except in the early days when I kept photographing the card! 4] This is my usual gear for placing on a Manfrotto monopod for stability (here shown on a tripod), I prefer the lever controls for releasing the legs with one hand.

Equipment

Eric Ladbury

5] A standard sized back-pack, with a pair of “gardening” knee pads. I have moved on now to a pair of “industrial” trousers with pockets built in to receive square knee pads, these stay in place much better and look less unsightly.

6] Over Trousers, (from 7Dayshop) a lightweight pair with zips up the outside of each leg, enabling easy fitting and removal. 7] Cover for the camera and lens really essential for the British climate. The clear plastic the “Op Tech USA” are supplied in packs of two at very reasonable cost. Whereas the “Storm Jacket” by “Camera Covers” is easier to use but much more expensive however after using this one for over ten years I think value for money as they pack up wet without any damage being done.

8] Some form of sheeting to place over wet ground when the need arises to lie down, is desirable. A simple answer is a black bin liner. Better is an old waterproof jacket/coat cut down to size or as here I was fortunate to come across a piece of Gortex material (just being thrown out honest).

9] It is wise to carry spare cards in some sort of wallet. The blue one (top) I find best when crawling around the undergrowth as it has a clasp and cord to secure it to a pocket or bag, and will hold ten cards in safety.

Left: I wear a long sleeved shirt even in summer not for warmth but to hide my light skin so as not to alarm the subject into flight. This one is a work shirt dyed green. Middle: My first photo waistcoat, again a heavy duty industrial shirt with its sleeves removed and many zip pockets added then tie died. Remember to get an over sized one to wear over cloths in winter. Right: A commercially-made waistcoat by Matin is reasonable priced, the only disadvantage over my homemade one is the pockets have Velcro fastenings which are awkward when trying to use them single handed whilst the camera or other gear in the other hand. It has survived well being now eight years old yet still good, just faded.

Where to start?

Eric Ladbury

Often the biggest problem is deciding just what subject to start with? Well, the slow moving or even static insects are probably best and this panel shows some ideas to try first. Some may not seem obvious while others are likely candidates, from my experience they have moments of less activity. The Cuckoo Spit (below, right) is straight forward and does contain a hidden larva stage of a Froghopper. The more obvious are the Soldier Beetles and single Beetles (above) both can be slow moving or even stationery among plants; also the Alder fly (left) can pause for long periods. The mating pairs of most insects (above) tend to ignore any approach as they are too pre-occupied with other matters to realise the danger. A few caterpillars move more slowly than most and occasionally stop to feed or rest a reasonable time. Many feeders of fruit in the autumn such as Wasps (top right) become intoxicated on the ripening juices. Spiders are a law unto themselves being very unpredictable most of the time, however when an Orb Web spider catches a prey insect in it’s sticky threads there’s a chance to capture an image whilst it is busy sucking the juices or securing the body for later feeding. Butterflies, vary species to species, the Aristocrats (Peacock, Red admiral, Tortoiseshell) are most passive.

Clockwise from top left: Peacock butterfly (inachis); Mating of Ringlet butterfly (aphantopus hyperantus); Soldier beetle (cantharis livida); Beetle (malachius bipustulatus); Common (German) wasp (vespula vulgaris); Cinnabar Moth caterpillar (tyria jacobaeae); Cuskoo spit (nymph) (philaenus spumarius); Caterpillar of Dotted Border moth (agriopis marginaria); Male web spider with prey (tetragnatha extensa); Orb Web spider on bent grass; Alder fly (sialis lutaria) All images © Eric Ladbury

Backgrounds & POV One important aspect of any photograph is to consider how the background will impact on the finished picture. The first reac;on of a newcomer to natural history photography is to become rather excited at seeing their first poten;al subject and go straight in by which I mean take the most direct route towards the creature. This is not always the best approach as can be seen on the le?, there are several problems arising, from the obvious angle of aBack. First the cluBer of foreground foliage obscuring the snail, second the background is awkward and messy, which is beginning to compete with the subject for aBen;on. The answer is slow

Eric Ladbury

Another decision to be made during one’s approach toward a prospec;ve insect, is, should the shot be taken from the side eleva;on or directly above? Deciding which angle of view, will in some instances inﬂuence your method or direc;on of approach?

Points which should be taken into considera;on are:-‐ -‐ -‐

down before geDng too close to the object and take a brief look around the surroundings. This could reveal a beBer route into the subject’s posi;on. A second point is the snail on the right is not only a long way in front of any background but is also much more animated, being more interes;ng and full of excitement, by showing it moving on it’s “foot”, with antennae extended. Remember snails are nocturnal and can climb high, so you need to be out early in the morning to capture one truly ac;ve.

Top: Brown-lipped snail (cepaea nemoralis) Bottom: White-lipped snail (cepaea hortensis)

-‐

Direc;on of light, do shadows, including your own, cause a problem? Type of terrain; is the access easy to nego;ate? Does heavy undergrowth cause a problem by triggering your passage through? What background is available? Are there other plants close by or is the distance between object and its neighbours suﬃcient to create a "good” backcloth?

Both these images present a pleasing picture with well controlled backgrounds and a clear view of the subject.

Both images: Sawfly (rhgogaster viridis) on buttercup 16

Camouflage & Colour Considerations

Eric Ladbury

The decision whether to photograph a brightly coloured subject or a cryp;c (camouflaged) one, is really a maBer of how good your vision or more precisely, how well trained your brain is at deciphering shapes in the undergrowth. With prac;se the eye can pick up shapes and designs of camouflage from the “normal” foliage. One giveaway is if the quarry is spoBed whilst it’s on the move. However some beasts are more adapt at fooling the observer, such as spiders falling from their perch. They start to drop and your brain expects them to fall to ground, but the spider arrests its fall half way, being on a thread of silk it is suspended mid-‐air lost, to your gaze. Damselflies and Dragonflies fly at steady speed then give a sudden change of direc;on either at right-‐angles or even in reverse. The human brain and lack of co-‐ordina;on cannot keep up with this pace, they just disappear.

Once a quarry is located the next objec;ve is to decide which is the best angle to photograph the insect from, bearing in mind the effect the background will have in the finished ar;cle. The “look” will change, with the distance of the plants behind (and in front), of the subject. No;ce in the dragonfly image (1), there are several thickish twigs which being light toned and well diffused, do draw the viewer’s eye to them, thus distrac;ng from the Chaser. Also the wing detail is not clear par;cularly in the darker regions.

Left: Cardinal Beetle (pyrochroa serraticornis) Above: Caterpillar of thr Dotted Border Moth (agriopis marginaria)

1. Broad-bodied Chaser (libellula depressa) 2. Peacock Butterfly (inachis) 3. Web Spider (tetragnatha extensa) 4. Web Spider (araniella cucurbitina)

1 In the buBerﬂy picture (2) the undergrowth has “gone-‐over” being later in the season thus presen;ng a pleasing moBled brown and green coloured diﬀused ground.

The background in the spider (3) has a pleasant mix of light and dark greens partly due to some of the foliage being in shadow. The round spider (4) having a body coloured yellow-‐green could easily disappear against a background of mixed shades of green and yellow. By selec;ng a more distant backcloth the tone has mingled into one shade and being in par;al shadow has presented a beBer colour, yet retaining sympathy with the subject.

4 17

Development

Eric Ladbury

Common Blue Damselfly (enallagma cyathigerum) Clockwise from bottom left: Immature female; Adult Male; Immature Male; Female in transitional form

Once more experienced at loca;ng and photographing subjects, its ;me to move up a notch ar;s;cally. When a colony or site is located, search out the more unusual individuals, such as diﬀerent stages in development, or bizarre, curious or abnormal displays. The further away from a standard image the beBer chance of achieving success in any compe;;on or exhibi;on. These become especially diﬃcult with rarer species thus I o?en “grab” a keeper just for personal records.

Overleaf: Hover fly (Family: Syrphidae

Finishing Touches

Eric Ladbury

Searching for that “perfect” specimen is not easy, however, persist and your diligence will be rewarded. Watch out for damaged wings (circled, above le?) especially in buBerflies, damselflies and dragonflies which are received from bird aBacks usually. Also check the number of legs, par;cularly spiders who o?en have one missing. Also look out for drab looking individuals who, at the start of season could be “last” years model, a?er going through a strenuous hiberna;on in the winter period. Again towards late summer and into autumn check which have aged well past their best being of a great age and avoid. Can an adulterated/altered original be accepted? O?en the answer is yes if not entered for high level compe;;ons (although it is always wise to check what altera;ons are allowed before entering).

Clockwise from bottom left: Speckled Wood Butterfly feeding; Gatekeeper butterfly (pyronia tithonus), Small Copper Butterfly with damaged forewing; previous image after repair in Photoshop using the clone tool. 20

Finishing Touches - cropping

Eric Ladbury

Once an image is loaded into your favourite program a decision to use the whole frame as it was originally captured, or to crop the picture to suit the subject, needs to be made. A further considera;on, to possibly take into account, is if the photo is going to be submiBed for an ar;cle or compe;;on, do the constraints of the editor or governing body need any specific sizing or are the guide lines flexible? With items submiBed for an editor to use in an ar;cle he/she will possibly decide to alter the dimensions and/or content anyway in keeping with the publica;on. A?er due considera;on the image of the fly (top, right) was cropped square as shown (far top right). By ;ghtening the crop I was also able to make the fly larger in the frame. Both are composi;onally interes;ng for me but the second one has superior image balance. The spider (le?), was even at the taking stage obvious to me, due to the shape and the background, there would be a need to crop to a “leBerbox” shape. Clockwise from left: Spider (tetragnatha extensa); Resting Snipe fly (rhagio scolopacea rhagionidea) as photographed; Resting Snipe fly as cropped; Eggs cropped to accentuate the shape of the deposit. Overleaf: Scorpion fly 21

Selected Bibliography

Eric Ladbury

GENERAL FIELD GUIDES to BRITISH WILDLIFE COMPLETE BRIISH WILDLIFE by Paul Sterry ~ Harper Collins publishers Ltd. -‐ ISBN 0-‐00-‐220071-‐6RSPB WHERE TO DISCOVER NATURE (In Britain and N. Ireland) Marianne Taylor ~ A & C Black Ltd. -‐ ISBN 978-‐1-‐4081-‐0864-‐2 POCKET NATURE WILDLIFE of BRITAIN for RSPB ~ Dorling Kindersley Ltd. (A Penguin Co.) -‐ ISBN 978-‐1-‐4053-‐2860-‐9 GENERAL FIELD GUIDES to INSECTS of BRITAIN and EUROPE FIELD GUIDE to INSECTS of BRITAIN and NORTHERN EUROPE by Bob Gibbons ~ Crowood Press -‐ ISBN 1-‐85223-‐937-‐9COLLINS GUIDE to the INSECTS of BRITAIN and WESTERN EUROPE by Michael Chinery ~ Collins -‐ ISBN 0-‐00-‐219137-‐7 SPECIALIST GUIDES to SPECIFIC BRITISH WILDLIFE (by subject maCer) BUTTERFLIES and DAY-‐FLYING MOTHS of Britain & Europe by Michael Chinery ~ Collins -‐ ISBN 0-‐00-‐219787-‐1 A FIELD GUIDE to CATERPILLARS (of buBs. & moths in Europe) by D.J. Carter and B. Hargreaves ~ Collins -‐ ISBN 0-‐00-‐219080-‐X A FIELD GUIDE to BUTTERFLIES and MOTHS of Britain & Europe by Dr H. Reichholf-‐Riehm ~ Crowood Press-‐ ISBN1-‐85223-‐593-‐4 BRITAIN’S DRAGONFLIES by Dave Smallshire & Andy Swash ~ Wild Guides Ltd -‐ ISBN 978-‐1-‐903657-‐29-‐4 BRITAIN’S REPTILES and AMPHIBIANS by Howard Inns ~ Wild Guides -‐ ISBN 978-‐1-‐903657-‐25-‐6 BRITAIN’S DAY-‐FLYING MOTHS by David Newlands, Robert S;ll and Andy Swash ~ Wild Guides -‐ ISBN 978-‐0-‐691015832-‐7 BRITAIN’S HOVERFLIES by Stuart Ball and Roger Morris ~ Wild Guides -‐ ISBN 978-‐0-‐691-‐15659-‐0

Selected Bibliography

Eric Ladbury

A FIELD GUIDE to the DRAGONFLIES and DAMSELFLIES of G. B. & Ireland by Steve Brooks ~ Bri;sh Wildlife Press -‐ ISBN 0-‐953-‐13990-‐5 A GUIDE to the DRAGONFLIES of GREAT BRITAIN by Dan Powell ~ Arlequin Press -‐ ISBN 1-‐900159-‐01-‐5 BUTTERFLIES and DRAGONFLIES a SITE GUIDE by Paul Hill & Colin Twist ~ Arlequin Press -‐ ISBN 1-‐900159-‐05-‐8 A FIELD GUIDE in COLOUR to MOLLUSCS by Vaclav Pﬂeger ~ Blitz Edi;ons -‐ ISBN 1-‐85605-‐449-‐7 A FIELD GUIDE in COLOUR to BEES and WASPS by Jiri Zahradnik ~Silverdale Books -‐ ISBN 1-‐85605-‐441-‐1 A FIELD GIUDE in COLOUR to BEETLES by K. W. Harde ~ Blitz Edi;ons -‐ ISBN 1-‐85605-‐448-‐9 COLLINS FIELD GUIDE SPIDERS of BRITAIN & NORTHERN EUROPE by Michael J. Roberts ~ Harper Collins -‐ ISBN 0-‐00-‐219981-‐5 A FIELD GUIDE to the GRASSHOPPERS and CRICKETS of BRITAIN & N. EUROPE by Heiko Bellman ~ Collins -‐ ISBN 0-‐00-‐219852-‐5

MAPS OF THE BRITISH ISLES ORANGE COVER = ORDNANCE SURVEY EXPLORER MAP scale 1:25,000 (4cm to 1km or 2.5 inches to 1 mile). Suitable for finding routes and features in the hills and mountains, giving high detail of terrain. PINK COVER = ORDNANCE SURVEY LANDRANGER MAP scale 1:50,000 (2cm to 1 km or 1.25 inches to 1 mile). Good for locating footpaths, bridleways or minor roads and general features. GREEN COVER = MAPPING INDEX a guide to both the above, useful for locating the map of any area in UK. www.ordnancesurvey.co.uk

Classic Cameras - Rolleiflex with Geoff Leah Rolleiflex is a name still revered by professional and serious amateur photographers alike. Manufactured by Franke & Heidecke of Germany, their twin lens reflex cameras spawned a whole host of would-be imitators over the years â&#x20AC;&#x201C; but Rolleiflex was always the king. The first Rolleiflex appeared in 1929, and in 1933 the less expensive Rolleicord was introduced. In the Rolleicord, a Zeiss Triotar lens was used up until 1936, when the better Schneider Xenar lens was offered as a more expensive alternative. Production of the Rolleicord ceased around 1970 with the Vb model. The original Rolleiflex had a Zeiss Tessar lens, which was preferable to the Triotar, and more befitting to the better equipped Rolleiflex. With the exception of the original Rolleiflex, they have always been fitted with a crank-wind film advance, and larger aperture taking and viewing lenses. The total number of different models is at least 30. All Rolleiflexes are fixed-lens, but wide-angle and tele lens models were made, and are highly prized, and very expensive!

Above: Baby Rolleiflex Left: Rolleiflex 2.8f

Classic Cameras - Rolleiflex A lot of accessories were produced, including filters, prisms, 35mm. adaptors, grips, flashguns, cases etc. etc. Theoretically, production ceased around 1985, with special models having coloured leather and gold trim being produced for collectors. It was possible to specially order a model after this date, but not many could afford. Rollei did produce several excellent 6x6 SLR cameras, a couple of 16mm compacts, 110 and 126 size film compacts, some superb 35mm compacts, and some unreliable Japanese-made 35mm SLRs. The only departures from the 6x6cm TLRs were the 4x4 cm â&#x20AC;&#x153;Babyâ&#x20AC;? Rolleiflexes (see previous page). These used 127 size film and produced superb results. Rollei may have made both 6x9 and 9x9 cm models, but if so, these may only have been made as prototypes. Rolleiflex cameras still command a good price, with the Zeiss Planar and Schneider Xenotar lensed models generally the most expensive. They will always be an investment, and remain very useable today, as 120 size film is easily obtained. A 6x6 cm image when scanned will still out-perform most digital cameras, and the film will last for a very long time if stored in a dry, cool place. Rollei do not make cameras any more, but have put their name to a range of accessories, including tripods and camera brackets. If you own a Rolleiflex, you really must dust it off, buy a 120 film, start snapping again, and revel in the sheer quality and joy of a photographic icon.

Geoff Top: Rolleiflex T with grip Right: Rolleiflex T with filter kit

Club Matters - housekeeping

John Kay, General Secretary

Welcome to new members. A warm welcome is extended to new member Malcolm Kingswell, who has joined Mono Print Circle C8. Whilst on the subject of new members, do you know someone who would enjoy being a member of one of our postal or Internet circles? Steer them to our website and get them to apply on the e-mail link.

PHOTOGRAPHIC CLUB, to our Storekeeper, Martin Short. See the Committee List for details. Martin often works away from home, so he may not always be able to send them by return post. John Kay can supply folders if you require them urgently.

When Malcolm applied to join the club he commented that he had been impressed with our website, “finding it easy to navigate, even with your transition between providers”. Webmaster, Graham Dean, has been very busy giving the site a complete makeover and work on it is nearing completion. Why not click on your computer’s PPC Website tab and take a look.

Annual Rally 2015 – Friday 9th to Sunday 11th October This year’s Annual Rally is fast approaching, bookings have gone really well. I understand that we can still add to the guest list but I will need to check room details and availability if you do want to attend. The venue is The Snowdonia National Park Study Centre, Plas Tan y Bwlch, Maentwrog, Blaenau Ffestiniog; which is where we held the very successful rally in 2012. Their website is www.plastanybwlch.com

Joining another circle Looking through the entry lists for this year’s TE and DPI competition it is good to see that quite a number of members who are only in Internet Circles sent in projected images and prints. There is no increase in subscription if you belong to more than one PPC circle and of course Internet circle members have no further costs, as they don’t need any stamps. Members who are in more than one print circle do need to buy extra print folders, and of course there is the cost of postage; unless they live near enough to another member of the circle and can pass the folio on by hand. Don’t forget, Internet circle members can also join a print circle and will receive a free pack of folders; I am pleased to note that a couple of our IC members have now added a postal circle. Print Folders You may be getting low on folders if you are in more than one print circle. You can now order and pay for folders using the club’s website PayPal facility. Alternatively, send a cheque, payable to THE POSTAL

The cost for the weekend with an en suite room, including meals from Friday evening to Sunday lunch is £140 per person (Saturday lunch NOT included). Deposits of £25 per person are required. Quite a lot of people have added extra days at a cost of £61.50 per person, for dinner, bed and breakfast. Contact John Kay if you would like join us. This year we will be presenting the awards and showing the top images from the DPI Competition on the Friday evening. As usual, members who live within commuting distance are welcome to call in during the weekend, but please let me know if you would like to come for one of the evening meals. I am very pleased that Tom Dodd FRPS FIPF DPAGB has accepted my invitation to join us for the Saturday evening meal and he will be presenting a print lecture afterwards. You can get a preview of some of Tom’s stunning work on his website: http://www.tomdoddphotography.com

Photography in the Gulf

John Pattison

About My Photographic Journey My first camera was a present when I was around 12 years old – a Kodak Instamatic with disposable cube flush bulbs. A couple of years later it was followed by a Polaroid instant camera, I don’t remember which model, but both cameras were used for holiday and family snapshots. Then a lapse until I was in my late teens when my father purchased a Zenit E SLR camera complete with a standard 50 mm M42 mount lens for my birthday and my photographic interest took off. The Zenit E was a good camera but very limited and I soon wanted something better and brought a Chinon SLR also with standard 50 mm lens but soon sold it for a Canon A1 SLR. During this time I discovered that I preferred slide film to negative and used Kodachrome 25 and 64 and tried out various other makes of film stock settling on Agfa and Fujifilm types as I preferred the colours those films were producing for landscape and close up of flowers which were the two genres that I shot back then.

Endless - Red sand dunes near Al Ain, United Arab Emirates. All images © John Pattison

Other interests and family commitments took me away from photography for many years but I returned to photography when I moved to the Middle East initially purchasing a Fujifilm A201 digital point and shoot in 2001 to take snapshots of my location, which was the Sultanate of Oman, to send to my family and the following year an Olympus C70 Z, which I still have. I used the Oly for several years as my sole camera but eventually I decided that I needed better gear and acquired a Nikon D40 X DSLR. This however, was a mistake as it proved to be too basic for my needs and I soon moved to a Fujifilm S5 Pro DSLR. The S5 Pro is based on a Nikon D200 body but is fitted with a Fujifilm CCD sensor and processing chip. This camera is also still in my collection and has been extensively used for landscape, urban photography and night and moon photography I became interested in other photographic genres and wanted to explore bird in flight photography for which the S5 Pro is not suited having a low 28

Photography in the Gulf

John Pattison

continuous fps rate so again I looked at the market and decided that the Canon 7D with its 8 fps rate in continuous shooting would be ideal. My intention was to sell the S5 Pro and the various Nikon and Nikon mount Sigma lenses that I had acquired and move ship to Canon but as matters have turned out I have both systems building a small collection of glass for the Canon in addition to those lenses already acquired in Nikon mount. More recently I have become enthusiastic about the mirrorless camera and in quick succession have acquired a Fujifilm X-E2 and the latest purchase is their X-T1. These cameras have rekindled my enthusiasm for taking images and photography in general and both have been used extensively since purchase whilst the DSLRâ&#x20AC;&#x2122;s are languishing in storage not having been touched for over a year.

Al Bustan Coast, from the Qantab Road, Sultanate of Oman

Above: Afternoon Moon, Abu Dhabi, UAE Overleaf: Blues & Pinks 29

Photography in the Gulf

John Pattison

Abu Dhabi Cityscape at night, United Arab Emirates

Photography in the Middle East Gulf Region Photography in the various Gulf countries that I have resided in over the last seventeen years varies and has generally little serious take up although point and shoots abound in the hands of the large Indian and Asian expat communities and they are mostly used for snap shots of themselves and friends to send home. Camera phones are beginning to surpass the P&S cameras though as the price of phones with an in built camera has become more affordable. Being in the Gulf has challenges not often seen in the West, the most striking apart from the high temperatures and humidity levels that prevail from late May though to end of September or early October being the continuous presence of dust in the air. Even in the winter months dust is present and in general there are very few â&#x20AC;&#x2DC;clearâ&#x20AC;&#x2122; days in any given year. Changing lenses is therefore something that should only be tackled if one has to when outdoors and only in sheltered locations to prevent contamination of the camera sensor. For this reason having two camera bodies fitted with a wide and long lens respectively is nice to have at hand. In the UK one is found usually protecting the sensor from rain of which there is little here!

Photography in the Gulf

John Pattison

Dust

An example of dust conditions is illustrated in the image, above, taken in the Sultanate of Oman. One can take photographs in high temperatures of course and the image overleaf taken in the ancient city of Nizwa in Oman is an example. Taken in July with temperatures reaching 46 degrees Celsius in the mid afternoon, the adage of â&#x20AC;&#x2DC;mad dogs and Englishmenâ&#x20AC;&#x2122; comes to mind but since everyone else retires to the comfort of air-conditioned spaces in the afternoon one is able to capture the labyrinthine architecture of this old city parts of which predate the Portuguese occupation of Oman undisturbed

Photography in the Gulf

John Pattison

The landscape of Oman is varied extending from the Limestone Mountains of the Hajjar range that in part form a natural boundary between Oman and the United Arab Emirates but also extend south to the coast around Qantab, the mountainous Mussamdam region in the North East, the coastal plain around the capital, Muscat; to desert and green pastures in the south west of the country around Salalah.

Labyrinth, ancient streets of the old town of Nizwa, Sultanate of Oman

The Stone Valley, near Muscat, Sultanate of Oman

Photography in the Gulf

John Pattison

Road to Nizwa - Hajjar Mountains

Dubai and Abu Dhabi in the UAE contrast sharply with their iconic skylines that provide continually varied and changing photographic opportunities. The two cities contrast with Dubai having developed to be a glittering city full of iconic buildings wherever one looks, whilst Abu Dhabi has applied restraint to retain a more traditional conservative architectural style that appeals to many. One needs to exercise restraint and be subtle in taking images on the street, especially if trying to capture images of Emiratis. The more conservative Emirati donâ&#x20AC;&#x2122;t take kindly to having their images taken and may well call the police if particularly offended. There are no specific laws 34

Photography in the Gulf

John Pattison

here that govern photography except where notices prohibiting photographs are displayed. Abu Dhabi port for example has such notices but one can pay a small fee to obtain a day permit. This does not guarantee that one will not be accosted by the Port Police though and asked to delete images. Refusal can lead to arrest and confiscation of one’s gear. This didn’t occur with me whilst I photographed some of the ships at the quayside in the port but I have heard tales of others being treated in this way. This contrasts with the UK where powers requiring one to delete images don’t actually exist although some think that they do.

Above: Misty Dawn over Abu Dhabi, UAE Overleaf: Abu Dhabi Residential Street in Khalidiya 35

Photography in the Gulf

John Pattison

West Bay, Doha, State of Qatar

Qatar and Doha are different again photographically. Qatar is a desert country and the majority of the population lives and works in the capital Doha or in Al Khor, Qatar’s second city, which is really a large town in comparison to cities in the UK and elsewhere. At present the country is undergoing the construction of major infrastructure projects which have disrupted most communities in and around Doha with at present road widening schemes and new roads and a transit rail system under construction and in addition various other projects are also under construction including new towers in the central business and diplomatic district of West Bay and iconic design stadia for the 2022 FIFA World Cup. Returning to the question of restrictions on photography, in Qatar I have fallen foul of the ‘no photography’ rule having been stopped by the Emiri Guard no less and asked to delete images of what proved to be a Royal compound, although I was not aware of that at the time and was not specifically photographing the compound but the high rise buildings beyond the compound. I deleted the images there and then and the officer checked my camera to make certain that I had whilst giving me a ticking off! All ended on friendly terms though and a shake of hands. The land and the cities of the Gulf Region provide a very different photographic scene to that found in the United Kingdom, but if one looks there is still a wealth of subjects, they just take a little longer to find and they are different – not a bad thing I think as it stretches one and one’s comfort zone is always being challenged. Zubhara Fort, State of Qatar 37

Circle 1: Pop Weatheral Cup Winner 2014/2015

Graham Harvey, Circle Secretary

I’m pleased to announce that Dave Whenham has won the Pop Weatheral Cup for 2014/15. Dave has tried for several years to take the coveted top slot and has been in the top three for the last three years so finally, this year it is his. It was a very close competition with only 1.6 of a mark separating him from the runner up. Dave has managed to take the top position with eight of his twelve images being stickered. He has three firsts, three seconds and two thirds. To gain eight stickers out of twelve rounds is a good achievement - well done Dave! I hope you will all enjoy this selection of Dave’s C1 entries.

Circle 1: Pop Weatheral Cup Winner 2015/2016

Graham Harvey, Circle Secretary

Clockwise from top left: The Haunted House, Elgol, Sligachan Bridge, The Old Blind School, The Dancer ÂŠ Dave Whenham 39

Snowdonia National Park As many members will know the Snowdonia National Park in North Wales is a photographers paradise. It is located on the west coast of Britain and covers an area of more than 830 square miles and boasts vast areas of natural beauty and unique scenery. It is known as Eryri by the Welsh, a name that can be translated as “the place of the eagles”. The park has something for everyone - stunning mountain vistas, glacial lakes, dramatic waterfalls and a landscape shaped and moulded by the once-thriving slate mining industry. This is truly a location with something for all seasons and the autumn colours and light can be spectacular. So, for those going to this year’s Rally there has never been a better opportunity to stock up on some sticker-worthy images. Kit-wise the choice will depend on your photographic preferences but both wide-angle and telephoto lenses can be used to good effect by the landscapers amongst you and don’t forget to pack the tripod, ND and ND graduated filters too. Regardless of what you like to shoot though waterproofs and sturdy footwear are recommended if you are going to stray away from the car. The Snowdon Massif, the Glyderau and the Carneddau are three of Snowdonia’s most impressive mountains and are all within easy reach of each other along the arteries of the A5, A4086 and A498. Each route in itself offers fine views of the landscape. A brief suggestion for some places to visit would include: • Cwm Idwal - a short walk from the Capel Curig visitor centre at Ogwen Cottage • The twin lakes of Llynnau Mymbyr, next to the A4086 on the western edge of Capel Curig • Llyn Llydaw is easily reached from the parking area at Pen-y-Pass on the A4086 • Llanberris has arguably the most diverse photo opportunities in Snowdonia • For train buffs Llanberris offers the Snowdon Mountain Railway and the narrow guage Llanberis Lake Railway • The glacial lake of Llyn Gwynant is another must-see location • Caernarfon Castle, Llyn Crafnant and Dinas Dinlle, are other location near Snowdonia that will offer the visitor a productive days photography.

Map from http://shawtrekking.com/snowdon-national-park/

FIND OUT MORE by visiting the Snowdonia National Park website at http://www.snowdoniatourism.co.uk 40

From the HPCC / PPC Archives

Autumn Morn

Prospect of Bankside SE1

Windy Ridge

H.R. Thornton. Circle 2

ÂŠ Jack Thompson. Circle C8

Ron French. Circle 7

Commended 1947 Founders Cup

Awarded the Half Plate Challenge Cup in 1972

Certificate of Merit, 1944 Founders Cup

The Postal Photographic Club Forum

Clive Piggott

http://forum.postalphotoclub.org.uk Help and Advice / Replacing a sky. Original Post: “Still practising with photoshop and wondering if anyone knows of a good tutorial site for replacing and blending new skies into a photograph. Got some nice skies on some of my infrared shots and would like to try and insert some into some of my images that have bland skies. I use Photoshop 7 on PC. Have found some tutorials but they seem more for the advanced Photoshoppers.” Response: “Don't know about tutorials - but the way I do it is to put the new sky in a layer over the main image - then change the blending mode to either lighter colour (if the new sky is to put clouds over a plain blue) or darker colour (if new sky is over a plain white sky). Then reduce the opacity of the sky layer and add a layer mask. Use a brush to paint where needed on the mask before returning the layer opacity to max.” Subjects and Locations / St Michael's Church, Lyndhurst Original Post: “We recently had a coach holiday to Bournemouth (Boscombe). One of the included excursions stopped off at Lyndhurst in the New Forest for an hour or two. Our coach driver said that the church was worth a visit as it was a little bit different from the usual. So curiosity piqued, we wandered up to take a butcher's. It doesn't look that great from the outside TBH being constructed from Victorian red brick in typical elaborate Victorian Gothic style. But inside, that is well worth seeing. http:// www.newforestexplorersguide.co.uk/heritage/lyndhurst/parish-church-st-michaels.html “ Competitions / The next one Original Post: Okay folks, the last comp saw 7 entries and was judged by Jon Allanson. I am planning to run another in two months time, or sooner if enough people are interested, same format as before, basically no rules. Couple of thoughts have been going through my head, should we have a theme for one and I wonder if we had a separate comp with photos taken using a phone, modern technology means that we can get some very nice images with a phone. Please feel free to enter thoughts or ideas here. The Infrared SIG / re: RAW Original Post:The argument between using AdobeRGB and sRGB has been going on for many years. Mike McNamee who edits for the SWPP and is a Adobe and Epson approved lecturer and tests vast numbers of papers etc, says that his research has shown negligible difference in the final outcome of using sRGB from Adobe RGB. The question we need to determine is whether your printer will cover the whole of the gamut of colour space, the more inks it has, the greater the chance. The other question is can you see the difference on the printed outcome, this is also dependent on whether you are using a correct output profile for the paper and the quality of the paper you use to show adequate contrast etc. I always work the whole process in sRGB and find that it is the choice/quality of the paper that has the greatest effect on the printed output. At the end of July 2015: 254 topics, 1,605 posts, a total of 72,869 page views and an average of 291 page views per day

The PPC Forum has two main sections: The Forum Community area comprises a number of member-oriented discussions.These are spaces which offer members unlimited opportunity to share questions and thoughts about the hobby, share their photographs for appraisal or simply to show their work to other members. There are also general nonphotography conversations and Forum news updates. The PPC area contains discussions and news items relating to the club Circles and their operation for example. There is news and updates about the club's Website, Photonews. Annual Rally, Committee members, annual competitions etc. The forum is completely private and the only way to join the forum is by emailing your details to us at: forum@postalphotoclub.org.uk

The Postal Photographic Club Website

Graham Dean

Your website needs you! The move to a new plavorm is almost complete at the ;me of wri;ng these notes. Now we just need more content. I'd really like to include more galleries that showcase the work of members – and how they use their cameras, accessories and so?ware, or perhaps explain their darkroom techniques. David James' shots of Scalber Force (one of the May 2015 galleries -‐ pictured boBom le?) are great examples of the type of content which I think would both help our own newer recruits and aBract those new to photography to the club site. We also need some galleries with examples of great images, such as the ones that come in the top three in the monthly rounds from each circle, sent in either by the winners themselves or the circle secretaries – this would allow members to view the work of other circles (complemen;ng the main circle galleries). I aim to have something new on the site at the start of each month – the August update was a page of useful links – send me your favourites and I’ll include them. I'd also welcome sugges;ons from members of other things they'd like to see on the site.

Either email me at webmaster@postalphotoclub.org.uk or upload to the relevant board on the club forum.

Graham http://www.postalphotoclub.org.uk

Dave Whenham

Product Review: Nikon R1 Wireless Close-Up Speedlight System

We don’t typically carry product reviews in Photonews but the arrival of Eric’s close-up article in my Inbox coincided with the arrival of a used Nikon R1 Wireless Close-Up Speedlight System in my post box so the timing seemed apposite. Now Eric does not normally use flash for his macro and close-up work but as many of you will appreciate flash can add another dimension although as with all things it needs to be used carefully and thoughtfully. The first thing to note is the sheer bulk of the system. It is housed in a kit case which the makers state provides secure compartmentalised storage, a claim that is hard to refute although it is a case to carry in the boot of the car rather than on your shoulder in my view. Fortunately, the kit also includes three robust pouches that can be fitted to a belt to carry the key components when out in the field. The kit case does mean though that all the various components can be kept together if required and I do return the various pieces to the case upon my return home. The heart of the system as-sold are two SB-R200 flash units which connect to the front of the lens using the supplied holder and an appropriate adapter ring. There are five rings included in the set which should cater for most needs. The flash units can be locked in place at any point around the circular holder and up to four units can be mounted on to the lens at any given time. For close-up work this arrangement is excellent and the kit also includes two diffusers which can be attached to the flash heads to better spread the light for extreme close-ups. Setting the kit up is a little fiddly and the first time I ventured out into the garden I was a little nervous of how robust the set-up would be. Care is needed, but the versatility of the system is such that this is perhaps a small price to pay for such flexibility although the absence of the usual Nikon solidity takes some getting used to.

The Nikon R1 wireless close-up speedlight system with diffusers attached and flashes angled for extreme close-up work. It may look a little unwieldy but it is an extremely useful addition to the close-up photographers kit bag.

WHAT’S IN THE BOX -

(2) SB-R200 Wireless Remote Speedlights SU-800 Wireless Speedlight Commander * SX-1 Lens Attachment Ring (2) SS-R200 Soft Case SS-SU800 Soft Case * SS-SX1 Soft Case SG-31R IR Panel for Built-In Flash (prevents pre-flash light from built-in flashes influencing exposure in extreme close-ups) SW-C1 Flexible Arm Clip (to mount SW-12 Diffuser to the SX-1 Attachment Ring. It also allows mounting of other objects) (2) SW-11 Extreme Close-Up Positioning Adapter (which can angle the SB-R200 toward the optical axis for extreme close-ups) SW-12 Diffuser (2) SZ-1 Color Filter Holder (2) SJ-R200 Color Filter Set (2) Speedlight Stand SY-1-52 52mm Adapter Ring (plus 62mm, 67mm, 72mm and 77mm rings) SS-MS1 Kit Case * R1C1 kit only 44

Product Review: Nikon R1 Wireless Close-Up Speedlight System

Nikon's Creative Lighting System (CLS) allows flashes to be set up in three groups: A, B, and C. Each 'group’ (which could comprise a single light) can have its own exposure adjustments and can be set either for TTL metering or manual firing. In theory a group can have as many flash units as you want, but feedback from users suggests that more than three and they start to interfere with each others' ability to read exposure. Having the ability to position the two flash units anywhere around the ring and being able to vary their relative exposures as well as the overall light output provides a lot of creative options without even taking the flash units off-camera.

By balancing ambient light with the flash it is possible to avoid the classic “black background” often associated with flash macro photography. The fall-off from the smaller flashes is noticeable in a wider scene but carefully balancing between flash and ambient light makes it an attractive gradation (and hides the less attractive elements in the background)

Both images: Nikon D800E with Sigma 105mm macro lens and two SB-R200 flashes mounted on lens. Manual exposure.

The user is not restricted to only using the flash units as a lens mounted system however. You could for example have one light mounted on the front of the lens and another held in the hand down and to one side of a subject such as a flower. The CLS will allow you to allocate each to a different group and control the relative light provided by each unit. So long as there is a line of sight between camera and flash unit all is well. The SB-R200 units are tripped wirelessly with either the built-in flash on Nikon CLS compatible cameras, or a Nikon Speedlight that has a commander mode, such as the SB-800. My D750 and D800E cameras are both CLS-compatible and so by raising the pop-up flash and setting this to Commander mode in the menu the camera will trigger the flashes. Alternatively, an SU-800 Commander Unit can be bought separately and this sits in the camera hot shoe and controls the attached flash lights using infrared rather than a pre-flash from the on-camera flash. This has two main benefits; the pre-flash can cause some subjects to blink, or in the case of wildlife to scarper, before the main flash units fire so this is eradicated and it also removes the need to fiddle in the camera’s menu system to adjust settings. The R1 system does not include the SU-800 although it can be bought separately or alternatively it is included in the more 45

Product Review: Nikon R1 Wireless Close-Up Speedlight System

expensive R1C1 version of the kit. Nikon have thoughtfully provided a space in the kit case so if like me you bought the Commander separately it can still be securely stored with the rest of the kit (the case also has space for a third SB-R200 unit and attachments). So, some small reservations about how robust the kit is, shared by all of the product reviews I read prior to purchase, but the most important thing is how well they work together and it has to be said that using them with the SU-800 Commander is a breeze, the CLS works with the cameraâ&#x20AC;&#x2122;s TTL metering system and with a Manual option the set-up has enough flexibility for even the most ardent control freak. Recycling time is a tad slower than I am used to with bigger flash units but this system is targeted toward a photographer who likes to take a shot, rearrange things a bit, and take another one so recycling time is not a big issue anyway. The only time I felt some frustration was photographing flying insects but I found that the problem was generally that I fired the shutter too soon so practicing my timing helped Being able to get the two flash units so close enables the considerably in this regard. subject to be very well lit, helpful for capturing fine detail.

Shutter speed and aperture set manually and the flash TTL system set to -1EV. The background is a matter of inches from the fly. Both images:Nikon D800E with Sigma 105mm macro lens and two diffused SB-R200 flashes mounted on lens.

In the short period that I have had the R1 I have photographed flowers, bugs and a crawling infant with it and have been delighted with the results. The reliability and ease of use of the system allows the user to concentrate on composition and controlling the ambient light to pictorial effect. Those who do a lot of close-up work will enjoy the flexibility and control of this kit. The SB-R200 does not pump out lots of light so is perhaps best suited for close-up work, the more traditional flash lights are needed for photography where there is any distance between subject and flash, but the finesse available for close-up work is very convenient. Its small size, light weight, and many methods of mounting flash units will undoubtedly encourage users to experiment. All images ÂŠ Dave Whenham LRPS

Club Matters - final thoughts

John Kay, General Secretary

Annual Competitions and The Travelling Exhibition The results from this year’s competition are currently being compiled and should be with you towards the end of August. Congratulations to those receiving an award or honourable mention and commiserations if the judges were not on your wavelength. The revised rule on the number of entries per circle membership and the fact that we no longer have a Top Circle Award had the expected effect of reducing the total number submitted in both competitions; last year’s record entry was at the point where we were fast approaching the limit that we could ask a judge to look at. I am pleased to hear that the overall quality this year was good but it would have been nice to have had a few more members sending in a set of images. Several members that usually send in an entry did not enter this year and we understand that this was because they felt there is no longer the incentive of helping their circle to be the top one in the TE. The Travelling Exhibition is a very important feature of the PPC and has been for most of the club’s existence. It is vital that we continue to support it and show the best of our members work to a wider audience. An analysis of this year’s entry is being prepared for the rally meeting so that we can see if the revised competition rules need reviewing. Send me an e-mail if you have any new suggestions about how we hold the Annual Print and DPI Competitions. I would like to take this opportunity to thank Jon Allanson for once again organising our competitions, it is a major task. Submitting entry details by e-mail made a significant difference to the time Jon has to spend logging them in and I believe most of us did it correctly this year. The top 80 prints that form the Travelling Exhibition and the retained prints will be displayed at the Annual Rally. The judge’s selection of the top 80 entries in the Projected Image Competition will also be shown during the weekend. The award winners will be featured in the next issue of Photonews and shown on the club website. David James looks after The Travelling Exhibition that tours UK camera clubs reaching as far north as the Shetland Isles. Not only is it a pleasure to see the prints, it can be a constructive club night if small groups of members are encouraged to comment on them. Contact David if you would like to have the TE at your local club.

John john@kay.me.uk

Forty shades of grey green I was listening to some ‘60s music the other day and was reminded of an album I own recorded by Val Doonican called “20 Shades of Green”. I tend to play music, usually light classical or popular, easy listening genre, whilst working away on the computer creating my next masterpiece. This brought to mind several images I have taken in close-up, using a macro lens, which have differing shades of green. They range from a deep grey green, through blue green, to yellow greens. Over many years of “shooting” close-ups I have had varying success with backgrounds, both in achieving my desires and gaining favour in competitions. Backgrounds range from being overpowering to those with a beautiful, subtle, subdued silkiness. Some backcloths are able to support with no intrusion upon the main subject, others are a disaster.

1. Mature Brown Female of Common Blue Damselfly 2. Scorpion fly 3. Female Common Blue Damselfly with prey 4. Burnet Moth pupa 5. Crane fly All images © Eric Ladbury

In the first attempts to produce a suitable background I just couldn’t understand why my pictures were not as pleasing as those I had seen by top professional and more experienced amateurs with their work in magazines and books I read. I couldn’t glean any advice or tips from members of the photographic club I belonged to at the time - miserable lot, frightened of being beaten at the next competition night I expect! At one stage, in the early years of my photographic career, I began to think the people winning top awards were creating artificial backdrops and using these! Not so as I subsequently learnt - it depends on the focal length of one’s chosen macro lens amongst other things.

When I started taking an interest in close-up work involving insects, I wished to photograph for pure record reasons, it was in the days of film based capture and I was storing images of insects I had spotted. Better I thought than using a “killing jar” and once home mounting each specimen to be stored in a dark unopened draw for years to come! Yes I am from that era! The butterfly I was attempting to shoot, when viewed later as a 35mm slide, was, disappointingly the size of a pinhead lost in the “centre”, of an A4 sheet once printed. What do the pro’s do fill a page with one insect? I couldn’t recall all that space around the outside of my subject when in the taking stage, hmm. It just goes to show how the brain works taking hold of the situation to blur reality and memory! 2

My thoughts were opened up when talking to an ex-colleague (many years ago), who worked in the next “shop” to me at Rolls Royce, (name dropper). He was a member of the 48

firms’ camera club and most days we would discuss our wishes and aims in photography along with the latest successes and failures. It soon emerged we both had an interest in natural history and in particular close-up work of insects. Bear in mind I’m still talking pre digital days. We both had issues with getting clear large images of the miniature world, and after one fruitful discussion we had the idea of creating a special bar to fit under the camera body protruding out at both ends to bend forwards; looking rather like a flattened boomerang, fitted by a knolled screw to the tripod thread. To this we would add a simple basic cheap flash gun to each end, one at full power, the opposite with reduced power by attaching a couple of layers of tracing paper. The design was made and scrap material sought and used, (honest it was destined for the bin). The surface was covered with protective rubber, holes drilled to take bolts and such, the two of us having one bespoke item each. After a few trials the system was showing promise and this before the similar things were commercially available as is the case now. The system mastered we both had good strong composed clear images with deep depth of field to give detail throughout the subject. We were off, winning N/H in local comps all over the place. Then we stumbled on the judges who disliked “black” backgrounds, this being due to the fall-off of flash lighting.The flash light soon lost strength so the background failed to receive enough illumination hence black backcloths. *

The advantage with digital SLR’s these days is the range of detail in sharp reproduction and depth whilst the recording of clear backgrounds is far superior to film days. Turn to page six of this issue to find out more.

3 * Google “inverse-square law photography” or check out http://www.digitalcameraworld.com/2013/07/24/the-inverse-square-law-what-it-means-for-photographers/

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For membership information please head to http://www.postalphotoclub.org.uk