Photonews Spring 2015

P h o t o n e w s Spring 2015

Inside this issue: Best of the Circles - picture special Alan Edwards - PPSA The WJ Stokes Archive - part 2 A passion for water - Peter Henry Photographing the invisible An Octet of Nikons

Photonews Welcome … … to the Spring issue of Photonews, the journal of the Postal Photographic Club. The Christmas and New Year festivities are no doubt a distant memory now but we would like to wish you all a belated Happy and most importantly a very Creative New Year.

The start of the year normally heralds a flurry of resolutions and good intentions for the coming year. I rarely indulge these days although a couple of years ago I resolved to read every one of Agatha Christies books in order of publication before the year was out … making it with a week to spare! Photographically however I try to avoid resolutions, as they tend to fall into the category of good intentions and suffer the fate of many good intentions the world over. I am therefore always impressed when someone resolves to undertake a 365-challenge, making a photograph every day for a year is quite a commitment and not to be made likely I suspect. However, if any of you have made photography-related new years resolutions please drop me an email as it would be great to share your resolutions with members across the club. Who knows, perhaps the public exposure will help you stay true to your goal and improve your chance of success!

There are several changes this issue not least moving to a horizontal (or landscape) format.

There are also a lot of changes in terms of style and presentation BUT the content from our many contributors remains consistent.

For Jon and the Circle Secretaries the early part of the year is the time when preparations start for the Founders Cup competition with stickered images being catalogued and forwarded to Jon who then prepares them for distribution to the judges. It is one of several busy periods for club officials throughout the year most of which happen in the background however over the coming year we will try to spotlight some of this activity in Photonews.

As ever, my very grateful thanks to everyone who has helped with this issue.

The club’s online operation has grown considerably in size, importance and more recently in aspiration over the last two years and we now have a team of three “willing volunteers” overseeing and coordinating the various activities. Both Clive (forum) and Graham (website) have penned a few words for this issue and Clive has also outlined the role that the PPC Online Management Team have been tasked with. By the end of the year we hope to be well on the way to a fully integrated suite of online applications so watch Photonews for news of progress as this year unfolds. 2015 promises to be a busy and exciting year for the club.

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: View from Catbells © Peter Henry 2

Club Matters This time last year I was writing to tell everyone that Photonews was going to be published quarterly and incorporate the traditional Gen Sec’s New Year and Summer Newsletters. Having helped out in the past with the preparation of our club magazine I knew it was an ambitious announcement. In fact our editor, Dave Whenham, actually managed to make it six issues in the year, by adding a Rally Special and then the Circles Special issue in December. Well done Dave and a big thank you to all of the other contributors.

There is no doubt the change to receiving Photonews on line has helped to give the magazine a boost; better reproduction and in colour, more flexibility on the number of pages and easier to add extra pages without a complete re-jig, etc. Dave has also been giving a web-link allowing us to view it at a higher resolution. I recall that a few members said that they intended to print out the magazine before reading it; let me know if you have tried it.

Our venture into Internet Circles preceded the on-line Photonews by a few months. It is just 2 years since we opened our first Internet Circle and now we have 7 Internet Circles and 7 Postal Circles. Of course the number of club members in Internet Circles doesn’t equal those in the postal circles, as many of us participate in both. It is encouraging to see that we now have a few Internet Circle members who have added a print circle to their membership - if you like producing prints and want to join a postal circle let me know.

Yes, the Internet has meant big changes for the PPC. However, I think that George Slight, Ellis Martin, Dennis Wright and the other big names from our 78 year long history would still recognise that, despite the changes in communication and methods of showing our photographs, we are still continuing with the principles of the club’s founders.

John Kay, General Secretary

One of the real pleasures of my role as General Secretary is getting to know of the many and varied achievements of our members. On page 10 there is an article celebrating the success of Alan Edwards achieving the Photographic Society of America’s PPSA distinction.

Please do let me know of your own successes, or indeed of other members if they are too modest to come forward, it is always a real pleasure to share and celebrate success, particularly with the rest of our membership.

Internet Circles Having Internet Circles has enabled us to open our first specialist subject circles, IC4 – Natural History opened last spring and IC6 has been set up for Infra-Red photography. Other specialist subjects/genre circles can be opened if there is sufficient interest. All Internet Circles operate completely on the web, the folio is opened on an agreed date each month and all circle members have a ten day period in which to deal with it. The notebook is always open.

Welcome to new members A warm welcome is extended to: Sheila Birch (IC6), James Payton (IC7) and Brian Viercant (IC7). Club membership increased in 2014, all applications but one came via our website and several were the result of the recommendation by an existing member. Many thanks to everyone who recruited our new members.

Do you know someone who would enjoy adding membership of the PPC to their photographic activities? We can accept additional members into nearly all of our print and Internet circles.

Correction: on page 4 of the Winter issue new CDP member David Ridley LRPS was incorrectly referred to as Ripley. Apologies for the typo David.

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The W J Stokes Archive - part 2

In conversation with Bill Stokes IC5

Part 1 appeared in the Winter 2014 issue

Looking through WJ’s prints it is clear that he favoured the warmer toned papers and as more than one member commented in the folders had a very pictorial style. The photograph of the Smoke House, above, really caught my eye and is one of my personal favourites from the collection along with the Glasgow Tenement photograph that we used on the cover of the Winter edition. I wonder how many photographers in this digital age would have cloned out the two suspended light bulbs though?

Smoke House - 2nd place in folio 189 May 1960

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The W J Stokes Archive - part 2

In conversation with Bill Stokes IC5

“Cretan”, Lamlash Harbour, Isle of Arran

Whitstable, Kent

Bill remembers that as a child prints and colour slides were always around the house. Some winter evenings were spent having a slide show on the Aldis projector which is still in his possession. He also remembers that at regular intervals a heavy reinforced box would be delivered by post, sent on by a HPPC member. The box opening ceremony was a bit like a photographic Christmas or birthday present. Print folders were passed around and by the age of 8 plus Bill was looking at the prints and trying to read the comments, no easy task as it seems that handwriting has not improved over the decades! Composition, lighting contrast etc. became part of Bill’s vocabulary therefore from an early age.

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The W J Stokes Archive - part 2

In conversation with Bill Stokes IC5

Bill recalls that his father was also a member of the Scottish Ramblers, an organisation that was formed around the same time as the HPCC. A number of the prints in the collection were taken with a Kodak Retinette and a favourite film of WJ’s with Ilford 35mm Pan F film.

During a decade of membership WJ entered 43 print folders to Circle 10. Eighteen of these ‘stickered’ with seven Firsts, five Seconds and six Thirds.

There are numerous portraits of Bill along with his mother and sister in the collection. Looking at them it is interesting to see how some of the poses now seem a little dated, yet were very commonly seen in the 1950s and 1960s.

Fashions in portraiture styles and in particular the way we pose our subjects would make a good topic for a future article in Photonews - any volunteers?

Produced by Kodak between 1936 and 1938, this is a 35mm folding camera of excellent construction. It is fitted with an f3.5 lens made by various manufacturers, the Kodak Ektar being the most common. The fully speeded shutter is a Compur Rapid. The camera is only 4.5” long, 3” high and 1.5” thick. It is light, and easily fits into a pocket. In 1936 it cost 10 guineas (£10.50), so it was never cheap. At this time no other manufacturer offered such a compact and high performance camera. A brown leather ever-ready case, coloured filters and lens hoods were available as accessories (Bill stills has them).

Geoff Leah Retina 1 (Type 126)

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The W J Stokes Archive - part 2

In conversation with Bill Stokes IC5

A favourite of Bill’s is “Low Tide , Lochranza” shown left and once again we can see how WJ chose to interpret the original negative for the folio submission as we are lucky enough to have a straight print from the negative (below).

The crop has brought the subject into greater prominence in the frame and once again WJ has favoured a warm-tone paper for the print.

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The W J Stokes Archive - part 2

In conversation with Bill Stokes IC5

Arran Vista- 2nd place in folio 153 May 1957

Evening Reverie - 3rd place in folio 179 July 1959

Two of Bill’s personal favourites from the collection are “Arran Vista” and “Evening Reverie” both shown here.

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The W J Stokes Archive - part 2

In conversation with Bill Stokes IC5

WJ’s last known folio entry was “Pilgrim’s Progress” in November 1964.

It has been a fascinating experience looking into the photographic archive of W J Stokes and I would like to thank Bill for sharing this with us all.

The Archive is taking shape on the club website so head on over and enjoy some more of WJ’s work.

Finally, a few words from Bill himself: I would like to thank John Kay for quickly responding to my email when I first contacted him about these prints and for inviting me to join the club. I would also like to thank Dave Whenham for his encouragement, enthusiasm and time in helping me “get my act together”.

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Alan Edwards - PPSA

Gypsy Horses

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Alan Edwards - ARPS, EFIAP, PPSA We were delighted to discover that PPC member Alan Edwards recently achieved the prestigious PPSA distinction from the Photographic Society of America (PSA).

The PSA’s Recognition of Photographic Achievement (ROPA) Distinctions were established in February 1997 for the purpose of recognizing PSA member's photography achievements in PSA-recognized International Exhibitions.

Looking at the requirements for the PPSA it is immediately clear what an achievement this represents - and we are honoured to be able to present a small selection of Alan’s work in these pages.

Great Egret

PROFICIENCY (PPSA): 288 or more acceptances supported by Star Rating certificates from one or more PSA Divisions.

Commenting on the news Club General Secretary John Kay said that the award was well deserved, and to our knowledge only one other PPC member has achieved the PPSA distinction. Alan himself is rather embarrased by the attention but we would just like to say: Congratulations Alan, and please don’t feel embarrassed, it’s a great achievement. Thank you again for letting us showcase just a few of your images in Photonews.

Krafla Extinct Volcano

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Alan Edwards - PPSA

Going Nowhere

The Photographic Society of America (PSA) is a worldwide organization with members in over 70 countries and is for anyone with an interest in photography. Founded in 1934, the Society is for casual shutterbugs, serious amateurs, and professional photographers.

To learn more about PSA and its activities, visit: One for the Road

https://www.psa-photo.org

All images Š Alan Edwards 12

Around the Circles - a picture special

Roy Maddison’s “Arthur the Aardvark” made me smile, such a well-spotted image and it certainly found favour with members of CP2 in folio 88.

Arthur the Aardvark © Roy Maddison 13

Around the Circles - a picture special

The Wrong Trousers (left) makes a welcome return 12 months after gracing page 4 of the Spring 2014 issue. David James scored top marks in C19’s folio 768.

The Wrong Trousers © David James

Feed Me © Bob Rawlinson

Whilst Bob Rawlinson’s “Feed Me” (right) was narrowly squeezed into second spot in the CP2 folio 88.

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Classic Cameras - an octet of Nikons Nikon produces a massive range of optical equipment, but this short article concentrates on some of their SLR cameras.

Nikon’s first production camera arrived in 1948, in the shape of a rangefinder, with inter-changeable lenses. Their first SLR was not produced for a further 10 years.

L-R: FM / F3 High Point / F100

All Nikon film SLRs have the prefix F, whilst the digital SLRs are prefixed D. The first film SLR was the legendary F model, made in 1959. The FM illustrated (right) dates from 1977 and is a delightful manual camera, with an LED metering display. It is light, easy to use, and like all Nikons it is beautifully made. The F3 is the last all-manual model made. It is a pro-spec camera, made in 1982, with a host of features, including changeable prisms and various metering and flash modes.

There is no hot-shoe, so flash connections are via the special adaptor shown on top of the film rewind, or by the usual PC socket.

Film advance is manual, using a lever-wind. Shutter and aperture settings are manual, and visible in the viewfinder. Two button batteries supply power for the metering. The Nikon F100 shown was made in 1998, and is a pro/am spec. camera. It is famous for its fast autofocussing, and possesses most of the features (with the exception of removable prism) found on the F5. Many professional photographers used the F100 as a back-up body due to its lightness and fast handling. It is a lovely camera to use, and sits well in the hand. It is noticeable that the body shape is the fore-runner of the latest F6 and digital SLRs. The F401 is an all –auto model made in 1987 and aimed at the amateur market. It uses DX film speed setting and has auto-wind film advance, inter changeable lenses, and a pop-up flash unit.

It relies completely on four AA batteries and will not work without them.

The Pronea (shown overleaf) on the other hand was Nikon’s attempt to join the APS film market.

It is a nicely designed SLR, with inter-changeable lenses, but is battery dependant. Had the APS system been made in full 35mm format, it might well have survived. The small format used did not permit high levels of enlargement, but the APS cassette and its ability to be swapped mid-roll was truly excellent.

Nikon F401 - reliant on four AA batteries

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Nikon still make the F6 SLR, but it is expensive. They have never made a camera that uses a format larger than 35mm, but make lenses for roll-film, 5x4”, and even bigger cameras. With the exception of a very few specialist lenses, all the bayonet-fit conventional lenses fit any of their 35mm. cameras, manual or auto.

Nikon Pronea - Nikon’s foray into the APS

The D7000 (top, left) was market introduced in 2009, and follows a long line of digital SLRs aimed at the amateur market. It has the ubiquitous APS C size sensor, rated at 16mp. It has a mass of operational features, resulting in a 2cms. thick instruction manual (Nikon still provide them, unlike Canon etc.). Excellent HD video is possible with this body. It is a lovely camera to use, not too heavy, yet well balanced. It has been replaced with the D7001, which follows the current trend of removing the anti-aliasing filter. This gives a sharper image without the need for as much sharpening, but, like with all trends, there is no such thing as a free lunch, and Moire patterning can sometimes be a problem.

The D700 (bottom, left) is a Pro/Am spec camera, using a full-frame 35mm sensor. Although this is rated at only 16mp, the fact that the pixels on the sensor are not crowded together, and thus not creating “noise”, means that using ISOs of 2000 or 3000 is possible without problems. Sections of images can be enlarged considerably, provided one of Nikon’s better lenses is used. The body is slightly larger than the D7000, but it is still a delight to use. If you can’t afford Nikon’s expensive Pro zooms, their prime lenses offer the similar performance at a fraction of the cost.

Classic Cameras - an octet of Nikons

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Nikon’s first digital camera arrived in1986, and recorded on a 2” floppy disc. It was an SLR called the Video Still camera Model 1.

In 1993 Nikon showed the D1, based on the F100. Kodak produced DSLRs using Nikon bodies, and Fuji and Nikon also worked together to produce Fuji cameras using Nikon bodies.

The 810 shown above is the latest DSLR offering from Nikon. It is very expensive, but offers superlative performance when coupled with good glass. The lens shown fitted to the above camera, a Nikon 14-24mm f2.8, offers incredible performance, but the body plus this lens is not something to be carried for long – it is extremely heavy. Nevertheless, it’s a body that a lot of us lust after! Note that the body style still harks back to earlier film cameras, as do some of the control positions.

The pace at which technology is being introduced into photography is staggering. In 10 years time it is likely that our present equipment will be historic and of little value. Will we be carrying around just our smartphones with all their widgets?

The Kodaks were big, heavy, expensive and ultimately unsuccessful. Fuji crammed all their superb electronics into the Nikon bodies and produce the highly rated S1, S2, S3 and S4 cameras. These were rated at a mere 6mp, but due to Fuji’s unique sensor, the result was equivalent to 24 mp. These cameras are still sought after and capable of superb results.

Nikon’s popular range of amateur DSLRs started with the D40, and over time reached the D90, still a useful camera.

The true Pro cameras started with D1, with S versions appearing mid-life, up to the current D4S. This can shoot at a very high frame-rate, and is built to stand up to heavy use.

Nikon have yet to introduce a mirror-less DSLR, but as the resolution of electronic viewfinders increases, it will happen. Smaller, lighter full-frame DSLRs are now becoming popular, with Sony leading the field at the moment.

Will we eventually throw up our hands and shout that enough is enough?

Somehow I doubt it.

Classic Cameras - an octet of Nikons

© Geoff Leah 2015 17

Club Matters - housekeeping

John Kay, General Secretary

Founders Cup Competition

Club website www.postalphotoclub.org.uk

This competition now has two classifications; Print Circles and Screen Image Circles, with separate judges for each category. If you were awarded a top 3 place in one of the recent rounds in your circle, your print or digital image will now be with Jon Allanson. The judging of the competition will be taking place soon and there will be top circle awards as well as individual image awards.

Our thanks are extended to Graham Dean for taking over as our Webmaster. Graham has written a short article for this issue of Photonews – see page 31. The website has a link to the PPC page on Facebook and I am sure that Graham would also be pleased to arrange two way links to PPC members own websites, as well as other photographic society websites. If you are in a local camera club, just get the person who deals with it to contact him.

As previously announced, in future the Ellis Martin Cup will be awarded to the Top Print Circle in the Founders Cup, rather than for the TE (Annual Print) Competition. The results will be announced by e-mail during early spring and the winning pictures will be included in Photonews.

The new PayPal facility available through the website has proven to be a worthwhile addition to our website and not just for new members joining the club. Quite a number of members have paid their subscription renewal using it.

Print Folders Club Forum Print circle members should have had their free print circle folders, providing their subscription was received by the end of January. Another batch of folders will be sent out in March and the final set will go out in early April.

If you are in more than one print circle you will need to order some extra folders at some stage in the year. Additional packs of twelve folders cost £4.50; including second-class postage. You can save the cost of a stamp by paying for them via the club’s PayPal facility, (access it from our website). Your payment and details will go to our Treasurer and he will advise Martin Short, our Storekeeper.

Martin very recently moved house, so for the moment you will need to send the payment to me if you prefer to send a cheque in the post, and I will arrange the despatch of your folders. Please make your cheque payable to THE POSTAL PHOTOGRAPHIC CLUB.

An on-line club forum that could be accessed by our members at any time was started last Autumn. Unfortunately we had to take it off line for a short time very soon after its launch but it has now been relaunched and you are invited to join in the conversation. Clive Piggott now manages it and you can find out more about it on page 32 in the first of a regular column from our Forum Manager.

Joining another circle There is no increase in subscription if you belong to more than one PPC circle. Print workers do need to buy extra print folders and of course there is the cost of postage, unless you live near enough to another member of the circle and can pass the folio on by hand.

Simply get in touch with me if you would like to add another Circle and we can usually make it happen very quickly.

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A passion for water

The photography of Peter Henry IC1/IC3

When the 2014 DPI TE results sheet came out Peter Henry was disappointed at his “lack” of success - but with six out of six IC1 entries accepted for the TE he probably had reason to be somewhat pleased!

This is not false-modesty however as Peter is a passionate photographer with a thirst and hunger for the hobby. Peter only joined the PPC last year, initially as a member of IC1 but he is also now a member of IC3. As 2014 was his first TE he only submitted digital images but has vowed to submit both prints and digital in this year’s competition. We caught up with him over a glass of lemonade recently.

Since his school days Peter has appreciated good photography although apart from a Kodak Instamatic his first ‘proper’ camera was only purchased in February 2009 when a change in shift patterns at work left him with both Golden Sands twelve hour working days but also several rest days. The time was therefore right to explore photography himself and he purchased a Panasonic DMC FZ28 but as we will see this only kept him happy for a couple of months.

Even those of us who knew Peter were not ready for the next chapter however - when he sold his car, bought a cheaper one and used the balance to buy a Nikon D90 with18-105mm VR lens and what was to become his constant companion a Sigma 10-20mm lens. Yes, you did read that correctly he sold his car to buy a camera!

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The photography of Peter Henry IC1/IC3

By this stage Peter was hooked and every spare moment was spent either walking his local patch (the Lake District) or honing his processing skills. The step-up in image quality from the Panasonic to the D90 convinced Peter that the DSLR was the way to go and since 2009 he has owned four different models and bought and sold over twenty different lenses.

He claims to be happy now with his current kit (Nikon D600 with Tamron SP 24-70 f2.8 VC USD and Nikon 80-200mm f2.8 lenses) but given his passion for image quality, detailed files and accurate colour rendition it would be a brave person who bet on him not changing again before the end of the year!

Haweswater Reflections III

As the images here show, his big passion is landscape photography and wherever possible he likes to feature water in his images. Not surprisingly seascapes also feature strongly in his portfolio.

Peter has always liked surrealist art and finds that this interest has had a strong influence particularly where the use of long exposures are concerned. He is quick to acknowledge that long exposures and ten-stop ND filters are not to everyone’s taste but when it comes to creating dramatic images he has found the techniques offer him something exciting to work with. Expect to see some of this work in future TE and folio submissions, especially as he has his sights on daylight exposures of several minutes for his next project.

Loughrigg Tarn

As a relative late-comer to the hobby Peter does not have the tradition of film photography that many PPC members have but ever keen to experience everything that the hobby has to offer Peter added an Olympus OM20 and a “few” lenses to his kit last year. A change in job and a house move have delayed plans to really experiment with this “new” medium but you can put money on moody mono seascapes with lengthy exposure times, especially if he discovers Ilford Pan F Plus or even Adox CMS 20!

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The photography of Peter Henry IC1/IC3

Islands in the mist

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The photography of Peter Henry IC1/IC3

Barley

As our conversation drew to a close we talked about photographic wish lists and a full set of Lee ND graduated filters currently tops what is in reality Peter’s very short list. Like many of us however justifying the cost for what, as Peter puts it, “is effectively six bits of plastic measuring 100mm x 150mm!” is something he is struggling with. Perhaps I should not have mentioned that there is now a sixteen-stop ND filter readily available on the market.

As for the TE Peter will be someone to watch for the future - he finished IC1 a very worthy second to Bob Rawlinson in 2014 and was joint winner with Mike Atkinson in IC3, the specialist monochrome online Circle.

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The photography of Peter Henry IC1/IC3

Mardale and Riggindale

You can see more of Peter’s photography including the mono work we did not have room for at: http://www.peterhenryphotography.com

Fancy featuring your work in Photonews? I would love to be able to feature as many members from as many Circles as possible in future issues. As Peter will confirm it is a painless process and the hardest part will be deciding on which images to include. Drop me a line - I’d love to hear from YOU. 23

Around the Circles - a picture special Left: “Ballerina’s Shoes” was one of the images we featured in the Autumn 2014 issue from Martin Hart’s winning portfolio in C1’s Pop Wetherell Cup.

Bottom left: Eric Ladbury’s photograph of two Arctic Terns exchanging sand eels was top in folio 400 of the DS Circle whilst “Getting Ready” by Graham Snowden (middle, bottom), also from DS was “stickered” in folio 398.

Izzy © Roger Edwardes

Male Arctic Tern passing sand eel to female © Eric Ladbury

Getting Ready © Graham Snowden

Undivided Attention © Pete Toogood 24

How do you photograph something that cannot be seen?

The short answer is the human eye can only see part of the whole spectrum in fact less than 0.025% of the total wavelengths emitted. The range extends beyond shorter wavelengths called ultraviolet and to the longer wavelengths of infrared. The sensor of a digital camera is capable of “seeing” from just inside the ultraviolet to the full width of near infrared. The full extent of wavelengths start outside the ultra with Cosmic rays, Gamma rays and X-rays; to beyond near infrared going into Medium infrared, Thermal infrared and wider still radio waves. The part visible to us is about 1/2500th of the total wavelengths reaching our planet, (see the diagram fig.1), which is quite minimal in comparison.

The IR filter or “Hot filter” fitted inside the digital camera is usually a “blocker”, not to be confused with a normal external infrared filter which allows certain designated IR wavelengths to pass through. IR filters don’t block ALL visible light; they are

experience from the past. When photographing known subjects with familiar lighting and condition, make a mental note or record the effect (see fig. 2). It also helps to read books and study images from other photographers who work in the medium.

Fortunately for digital, to some extent the reaction of pixels in the black and white image is similar to that of IR film. Colour does contain limited useful guidelines from the film era, when films such as Ektachrome IR where all colour, (as we know it), is false, in other words any interpretation could be acceptable, as there is no colour attributed.

The reaction of infrared light on the scene depends on what IR wavelength filters are used and the radiation being reflected back into the camera from the subject. For instance the chlorophyll contained in plants, mainly in the leaves, stems and petals. Look at trees, grass or cereal planted fields etc., which show as white or pale grey depending on the direction and strength of the sun.

However the trunks and branches stay very dark. Known as the “Wood effect” (see fig. 3, overleaf), after Robert Wood who first described the effect caused by the reflection of infrared light through chlorophyll of the water content of plants in 1919.

deemed efficient if they remove 50% of transmissions at any particular wave length. The cut off point for an IR filter is usually included in the filters name e.g. Hoya R72 = 720 nm, (nanometers ~ one billionth of a meter).

The method of capturing an image in the “invisible” is to use the part of the visible spectrum to the naked eye, relying on

Whereas the sky can produce dark grey to black tones, with fluffy white clouds, depending on the time of day and angle of light.

Some dark and black synthetic clothing or materials return as light toned; and different types of paint may react with the infrared waves. The light source is usually the sun, although its not correct only bright summer sunny days will produce infrared images. True it is stronger, but pictures can be taken at any time 25

of the year. Infrared waves are given off from daylight, incandescent lamps, burning materials glowing emissions, and hot coals or gaseous flames.

The best setting to use for “white balance” is “custom”; to customise your camera use a white card or “green” grass to take your meter reading from. Better still use an 18% reflective grey card, available from all good photographic shops; don’t be fooled into using the back of a cereal box or similar as the tone is different and will incorrectly set any adjustments when applied. Once the initial image is taken, it need only be a small step in post processing to achieve a good image. Even a striking yet basic monochrome can easily be produced (see fig. 4). This original “red” IR image was processed in Adobe Photoshop CC where the Red and Blue channels were swapped (see fig 5 overleaf). Next the colour picture can be taken into a “plug-in” such as Nik’s Silver Efex Pro 2 (Sep) for conversion to monochrome, although it could be done in P/shop to a slightly lesser quality.

In reality when infrared filters are employed to allow the passing of IR waves, what ever capture medium is being used, sensor or film, they are suppressing all other wave lengths. In the present day it is usually the pixel array of the digital camera recording the IR information. The use of film means the loading of infrared sensitive material has to be done in total darkness. The slightest exposure to any wavelength (including IR), fogs the film, meaning the whole roll of 36 frames could be lost, both prior to shooting or after the film is exposed. Thus only one film can be shot before returning to the darkroom, or use a “changing bag” (commercial dark bag totally light proof), in the field to reload fresh film. Even certain film cameras could not use IR films as some were not 100% infrared light proof; or the camera body used infrared light diodes, (such as the Canon range), for counting the film sprockets to estimate the frame number count. Film processed images are still used to the present day, but since the digital revolution most photographers capture their images with pixels.

When using a standard digital camera an IR filter can be placed in front of the lens taking care to make it light tight to the front of the lens. This filter will prevent all but the wavelengths of the filters designated range such as Cokin’s A/P007 or Hoya’s R72 which are equal to 720nm , or B+W Dark red = 650nm. Some of the lower numbers e.g. 590nm, 665nm, 720nm, extend their coverage into the visible light, the advantage with these is when post processing the image, false colour other than black and white is introduced and can be altered or 26

modified. If your aim is purely monochrome as earlier films mainly were; go for the higher end such as 830nm or 920nm.

Once you decide the range of images in infrared you are interested in, it may be worth considering converting an old camera body (or buy a cheap second-hand one), to shoot permanently in IR by having the internal “hot filter” blocker replaced by one of several available infrared transmitting filters. A word of warning! Once converted it cannot be reversed so be sure this is the path for you. Conversion can be done by the owner, but it is difficult and risky both causing irreparable damage to the camera or with the high voltage capacitors, (for flash), inside the body there’s the potential to inflict a high voltage shock which can be fatal. Better to use one of the professional camera engineers in this country, which will convert a DSLR or suitable compact for around £250.00, note there is discount for PPC members when you use “Protech Photographic (repairs), see the details at the end of this article. I can recommend Protech as a very swift reliable company whose knowledgeable staff are only too pleased to help and advice on any matters concerning IR before and after sales.

When converted the camera can be used almost the same as a standard none converted one. The advantages to converting are; one, the view finder stays clear (unlike a front of lens filter which causes everything to go black), thus enabling easy composition of the shot particularly for action shots; second, the capture speeds (e.g. 1/60th), are normal exposures and reduce from the external filters exposure (e.g. 30 seconds); third, any lens can be used with the one internal filter as this stays in place, the change of lens has no effect beyond the normal anomalies, thus there’s no need for IR filters of different lens threads i.e. 49 mm to 82 mm saving costs; fourth, the removal of the difficulty in keeping the filter to lens light tight and the physical act of placing it on the lens; and finally, no “hot spots”, these are areas of highlights showing on the captured image as burnt out highlights where lens coating 27

has interfered with the transmission of infrared waves.

BIBLIOGRAPHY AND EQUIPMENT SUPPLIERS

With these restrictions removed photography becomes easier, returning to almost the level of control of the original unaltered standard daylight capture camera. Put with this, the ability to use any extreme lenses e.g.

PC (perspective control), ST (shift and tilt) lenses or lensbaby range, and many other accessories, a whole new world of photography opens up.

Complete Guide to Digital Infrared Photography by Joe Farace ISBN: 978-1-57990-772-3 Lark Books

There’s a beauty and mystic with infrared imagery that has no parallel in any other area of photography, so why not give it a try? You never know you may decide to join IC6 infrared group?

Digital Infrared Photography by Deborah Sandidge ISBN: 978-0-470-40521-5 Wiley Publishing Digital Infrared Pro Secrets by David Busch ISBN: 978-1-59863-355-9 Thomson Course Technology Digital Infrared Photography by Cyrill Harnischmacher ISBN: 978-1-933952-35-2 Rocky Nook (The next two are for “film” IR resource but still useful information for digital workers) Venice City of Haunting Dreams by Simon Marsden ISBN: 0-316-64536-2 Little Brown & Company Infra-Red Photography – A Complete Workshop Guide by Hugh Milsom ISBN: 0-86343-373-1 Fountain Press Wex Photographic ~ useful for EVERYTHING including cameras and accessories. www.wex.co.uk SRB Photographic ~ for filters and adaptors etc. www.SRBPhotographic.co.uk Speed Graphic ~ for filters and accessories. www.speedgraphic.co.uk Protech Photographic (repairs) ~ for camera conversion to various wavelengths of Infrared transmission. Tel: 01825 732 730 Mob: 0771 261 1209 enquiries@protechrepairs.co.uk Many thanks to Eric Ladbury for this informative and wellresearched introduction to digital infrared photography.

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Long a staple of camera clubs around the globe, if not the galaxy, Battles between different clubs can add an additional element of fun and excitement for the competitively minded amongst the membership.

It has been suggested on the club forum recently that we consider introducing inter-circle battles amongst interested Circles but of course like all such ideas we need a willing volunteer to coordinate and run the battles.

How Might it Work?

Sample “Battle” Rules

Circle members submit images to the Circle Secretary for consideration.

The judge will be asked to provide a critique and mark each entry out of a possible score of 20 .

The Circle Secretary puts together a Circle entry of six images to pass on to the Battle Coordinator.

The Battle Coordinator recruits a judge from a Circle not competing in the battle to critique and mark the entries.

The winning Circle will be the one that has the highest total marks. In the event of a tie, the photograph with the highest individual score will win the competition for their respectiveCircle. In the event of a further tie, the judge’s choice of best photo will decide.

The options are almost endless - we just need someone willing to move this idea from paper to reality.

Think you have the right stuff to marshall an inter-circle battle?

29 Then apply now to the Genral Secretary - CV NOT required!

Graham Harvey

Developing a photographic style or vision - A personal view

I recently submitted an image to an online circle that I thought was a good image. I had tweaked the exposure and even rotated the image so that the straight lines where on a diagonal; to me it gave a bit more of a dynamic feel to the image. So I waited for the round to close and I was full of anticipation that for once I might not be bottom in this round.

Guess what, there I was on the thumbnail page all in splendour and might and last again. Okay I thought, I’m fighting against some good practitioners of this dark art. I’ll have a coffee before I read the foreboding comments (strange we seem to go through a lot of coffee in our house). I start to read the comments and suddenly I seem to have a light bulb moment, well not a 100 watt more like a 10 watt, this image was rubbish and yet I’d allowed myself to think it was good. All the comments had positive pointers or thoughts about the image so I decided to print the comments off and read them more throughly. Some said that it needed to be more gritty others didn’t like the lighter tones at the bottom one thought the diagonal was good and several other comments where in similar context.

So I decided that I was going to rework the image, make it more gritty and darken the light areas. As I used the tools to change the image it took on a whole new appearance and it was going further away from what I had originally submitted - it was a lot darker and the central part was more pronounced giving it a more defined look. I may have been preprogrammed before that a B&W image must have a black a white and a full range of grey tones between but this version fell well short of that ideal.

The image was resubmitted and when the closing date came I wondered how my image had fared this time. I looked at the thumbnail page and there I was in fourth position - that was a big jump up! I had a quick look at the marks it had been given and two members had given it top marks but more importantly the comments where more positive.

I also looked at a couple of other images that where of a similar subject and decided that these where not good enough and have reprocessed them so they now have a more defined look.

I have also toned the central portion which has given it a new look. It seems like I have now started a new journey with my photography.

Photography is a form of art and every photographer should follow their own unique style and express themselves as they see fit.

Comments from other members should always be phrased in a positive and constructive way so if you need to say something that could be perceived as negative then point out why and what you think would improve the image. We need to encourage new members to find their feet when making comments because eventually they are going to encourage newer members in the years to come.

All images © Graham Harvey 30

Pretty in Pink Denise Taylor & Dave Whenham

The Postal Photographic Club Website

Graham Dean

Your website needs you!

I've recently volunteered to manage the club website and I'm star7ng to formulate some ideas for changes -­‐ I really don't want to impose my ideas (at least not without some pretence of consulta7on)!

As I see it the site should have two main func7ons: •

A@rac7ng new members;

•

Being a source of informa7on for club members (complemen7ng the new forum).

Although I’ve been involved with managing websites for 20 years – I’ve never used WordPress (which is currently used by the club) – so there will be a fairly steep learning curve – don’t expect huge changes overnight!

I have already done some 7nkering: removing the ability to feedback on galleries and other pages: there was a constant stream of spam to delete daily; also the forum now provides a vehicle for members to communicate, post images, comment on each other’s work, ask for advice, etc.

Here is a boat without any oars And a river of rippling ink.

Here acid water laps alkaline shores, And poison is pretty So pretty in pink.

You’ll find no safe harbour No berth and no jetty, This place is no Eden, despite what you think.

They buried their waste in the deep silent silos, And poison looks pretty, So pretty in pink.

I’ve also started to build a page of useful links. On the first incarna7on of the club website, I found this a very useful page – and didn’t bother adding any photographic sites to me personal favourites – I could always find what I wanted on the club links page.

If you have sugges7ons or comments, please let me know: either by pos7ng on the appropriate board on the forum (where there are already some ideas from members), or by email to: webmaster@postalphotoclub.org.uk.

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The Postal Photographic Club Forum

Clive Piggott

Following the 2014 AGM, the PPC added an online forum to its well established suite of online presences consisting of the club Website and the Internet Circles (IC) website. The forum was the brainchild of Dave Miller assisted by Dave Whenham, two of the many Daves we have in the PPC. As most of you know, Dave Miller stepped down as Forum and Website manager last October, and I have since taken on the role of Forum Manager whilst Graham Dean has become the new Manager of the Website. Together with Dave W, the Internet Circles Manager, we three comprise the newly formed PPC Online Management Team, headed by Dave. The increasing importance of our online portfolio has led to us to form an interim “online executive� comprising John Kay, Stuart Carr and Dave (as PPC Internet Ventures Coordinator) pending discussion at this years AGM. The PPC Committee however has already stated its belief that having Internet based facilities is a vital feature for the club in the future. Subscriptions from IC members alone significantly contribute to Internet facilities overheads, and club postage costs are now minimal because most club communications are done online. Last November we reached a milestone - every participating member now has an e-mail account!

Shortly after its launch, we experienced some stability problems with the original forum which resulted in it having to be shut down for two or three weeks. During this period of downtime, we took advantage of the chance to define and formalise its goals and agree a medium term strategy for the forum. The committee decided that for the foreseeable future the forum would be a private community open only to paid up members of the PPC. After piloting a relaunched and rewritten forum with a small group of members for a trial period, invitations to join were sent by email to all members of the PPC by John Kay, PPC General Secretary, who is kept fully informed on developments with all our internet initiatives.

All members of the PPC are eligible to join the forum at no extra cost (membership of the forum is included in the annual club subscription). There is no compulsion to join the forum and it is perfectly possible to participate in the club's circles' activities without joining. However, the forum adds another dimension to membership of the club, providing a place where members from across the club are able to get together at any time for informal discussions and advice. The fact that members may be located anywhere in the UK and hence are on the whole physically remote from each other makes the provision of these online facilities even more important.

I genuinely believe that participation in the forum is a delightful experience; being in the company of many like-minded fellow hobbyists with a collective wisdom and knowledge is invaluable. So, if you have not already done so, why not join today and see what all the excitement is about!?

Like all forums ours will be what the members make of it - so come on in, you will be warmly welcomed!

Clive 32

Club Matters - final thoughts

John Kay, General Secretary

Travelling Exhibition David James, our Print Exhibition Secretary is the club contact for The Travelling Exhibition. The 2015/16 TE Rota is already being assembled. Does your Camera Club take the TE? Why don’t you ask the Programme Secretary at your club to get in touch with David?

Annual Rally 2015 The 2015 Rally will be held over the weekend 9th to 11th October at The Snowdonia National Park Study Centre, Plas Tan y Bwlch, Maentwrog, Blaenau Ffestiniog, Gwynedd. The country house is set in 100 acres of gardens and woodland and the Ffestiniog narrow gauge rail chuff's through the estate. Further details of the venue can be seen on http:// www.plastanybwlch.com We held the very successful 2012 Annual Rally at this venue and it was immediately booked again for the same weekend in 2015; this has meant that we have had a special discount applied - 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.

It will be possible to extend your stay at Plas Tan y Bwlch at a cost of £61.50 per person, for dinner, bed and breakfast. No additional deposit is needed but you need to arrange it through me so that I can include it as part of our group package details. Phone or mail me if you want to discuss it. A booking form was attached to my subscriptions reminder / rally booking e-mail of 28th December Sunrise, Plas Tan y Bwlch © Dave Whenham

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I was re-reading an article by David Ward in Outdoor Photography, I’ll pick any magazine to peruse over whilst in the doctors waiting room! It may sound like an up-market doctors with this type of reading material, but when I come to think of it, I actually took some back-numbers to the surgery myself in an attempt at recycling.

The piece was Ward’s thoughts on composition, including the idea of using “rules”, I prefer to call them guide lines, it’s as old as “art” itself. Many is the time I’ve entered a print or slide (now digital), into the local club’s monthly competition, only to be told by the fellow spouting at the front of the room; that’s the one holding the white stick! “I like this a lot, if only the author had placed the subject on the “thirds” and had been “three” instead of four blades of grass in that field...”

Back to the article, it hinted to “negative space” and I don’t think Ward was referring to the grey matter between the judge’s ears. No, I did understand the notion of looking at empty areas of the canvas, and this took me back to my first camera club many years ago. It was at “Ilkeston Arts Club”, that’s right ARTS club. They had two sections, painting and photography, very progressive. I’ve not seen another art group in the area, (East Midlands), until very recently, proffering multiple options to include photography?

The club had separate meetings for the two strains of picture making, plus a general meet every Friday during the winter months. Many are the cold winter’s night that saw myself, the photographer, and three or more “painters” discussing the merits and downfall of the evenings lecture, often relating to similarities and common ground between the two forms of i m a g e r y. T h e u s u a l a g re e m e n t s a n d arguments pursued, often until the church clock struck twelve, (we met in their meeting rooms 8 ‘til 10pm), when, a reluctant few members of the “Arts” club decide to wend their separate ways home.

Winter’s Snow - a “rsiky” submission?

My point is this, the thirds rule, golden mean, golden section, golden ratio, and balance of composition have been applied to that Poppy Seed Heads 34

Exhausted

rectangular piece of canvas for thousands of years. So why not follow a “winning” formula? Well, everyone has differing thoughts of what is pleasing to the eye ~ even judges. Therefore why do we slavishly follow these “guide lines”? Why not look at a potential picture and, if the image looks right, select a different view?

Over several years of following “the rules” I decided to test the judges “eye” by putting entries of a daring composition? Such as, a low horizon, or no horizon; I have even used still life subjects in quantities of four, an even number, really!

One memorable entry, a still life of two bottles, (yes two, count them), placed in the bottom right corner of the canvas, I’ve used it several times in different comps, and almost always the judges would pick a sheet of blank card and begin to demonstrate the correct compositional line by dragging the card down, and back up the print to suggest the perfect frame, compared to the original picture. Without fail, every moderator finished with the composition as presented in the initial form!

On another occasion I entered a “themed” competition, named “white”. Well being winter and having an interest in local landscapes, I ventured out one freezing snowy morning onto some low hills in south Derbyshire. I walked to the area, which proved an excellent choice. As I approached these hillocks, I noticed in the snow covered ground a low fence profiled against the white stuff.

The sky was a sheet of, light leaden greyish white cloud. The composition was simple but bold, a white space with a fence across the bottom. When in the club, the photo was “judged” as a very risky submission. The judge “your picture is either liked or hated: no middle ground”. He promptly continued to judge the remaining entries, putting the snow scene into successive rounds.

Until the final three, when he complimented the use of space and placed it first!

With the rider “another day with another judge it may be dropped in the bin at round one!”

It was a memorable picture in more ways than one.

Bye for now … see you around the corner soon!

Liquid Gold

All images © Eric Ladbury

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