GO FOR THE DISTINCTIONS

Tiae• change- in 1921 the 6c11 x 9CJII negative tor11at ot the Browie vas considered too saall for "Serious" use, but nov in 1986 tAe 6ca x tomat is a purely a professional size. In 1926 or V he upgraded his equip111ent to a Zeiss plate ca111era, vhich cost c7.1os.Od, & about that ti11e built hi• ovn enlarger, using a 4½" optical condenser which is still in use in the (11111ch revised) home 111ade enlarger he uses today. In 1928, he 111et his vile, & while studying Che11istry &

Biology at Manchester University began to experiment vith flash ·photography. At first he used magnesiU111 ribbon, but then flash powder vhich vas quicker & more effective. In the late 193O's, satchel lights came into use. These vere very large bulbs vhich burned for 1/5th of a second. This vas ot course not quick eno~gh to "stop" 1110ve111ent of the subject. During the War, John Bardlley was photographing a large Dinner-party using 4 satchel lights.

As each bulb vent oft in turn, the diners moved their head.I around to look at each light in turn, & the reaulting photo shoved 175 headless diners: We were shown a selection of superb photographs of IIAllY subjects taken during t'le course of the last 60 years, & all present were treated to an excelent & entertaining talk. The next speaker on the agenda was Dr. Mike Apted, who has been involved vith the restoration ot the gun emplacements at Dr. Mike explained how he has researched the project, & how an exhibition has been staged at the site 0£ this costal defence battery. We were shown a sees ot "then" & "now" pictures of the battery, & the lecture vas both interesting & informative. ~olloving an excelent Saturday evening Dinner, Alan Young

Chairman ot the Tonbridge Cillllera Club presented an A.V. shov as an after dinner entertainment. There were seven sequences &11 by members of the Tonbridge Camera Club, & they were all of excelent quality. After the slide show, the evening drew to a close with the shoving ot tvo movies provided by the· Egyptian

Tourist Board; "Faces of Egypt" & TutenkA1111Ul"• Our first speeker on Sunday morning was the well .known photographer· fron Cambridge University, Gvill Oven. The subject of his talk vas "Pre-visualisation". He explained that there are different vays ot thinking, depending upon hov you approach your photography. It one is to define the difference between the

Professional & the Amateur, it can be done thus: Amateurs take pictures that are significant to themselves.

A• an amateur, you have the· licence to succeed or to tail. To take the photographs that~ want. A professional however has an external influence, & does not have "pc!rsonal meaning" as the prime moover. It you are working for s0111eone else, you 11Ust be successful, & what you do 11\lSt be of interest to vho;;;; you are working tor. "Pre-visualisation" is to see in your mind what you think you are going to do before you do it, In a way it is the ability to define precisely in word.I just what you vant to do. For example "photograph tvo coffee cups", This might make you think .. that pre-visualisation is restricting, but it need not necessarily be so. It is a typical c111ateur approach to consider the "art" first & the "craft" second, Pre-visualisation is the ability to i11agine the picture before you press the shutter release. This can help to technical problems "self solving".