RPS - Benelux Chapter eJournal - Volume 3 Autumn 2016 by Royal Photographic Society

BeNeLux Chapter eJournal - number 3 - Autumn 2016

Acknowledgements

VIEW FROM THE RPS BENELUX ORGANISER Welcome to this, the third issue of our RPS Benelux Chapter eJournal. The first two issues have been very well received, both by our Chapter members and from the RPS HQ in Bath. They can be downloaded from the About US tab on our Chapter website.

The Royal Photographic Society BeNeLux Chapter Copyright The copyright of photographs and text in this eJournal belong to the author of the article of which they form part, unless otherwise indicated. Cover photo Dawn Black ARPS Proof reading Dawn Black Editors eJournal Janet Haines and Armando Jongejan Journal Editorial committee Richard Sylvester Eddie Maes (B) Dawn Black (NL) Simon Hauxwell (L) Janet Haines (NL) Webmaster Tony Roe

The eJournal is a very important source of publicity for our Chapter and for attracting new members. We would like to thank everyone who has contributed to the eJournal and especially Armando Jongejan, without whom the first issue would not have seen the light of day. We are actively seeking contributions from our members for future issues of the eJournal: paths to distinctions, tutorials, local activities, future events, ideas for future activities, photos and so on. Please send your copy for the next issue to Janet Haines or Armando Jongejan. The next issue will be published in Winter 2017. RPS BeNeLux Chapter membership Our membership currently stands at 50: an increase of 17 as compared to 33 members in August 2015. There are 30 members from the Netherlands, 12 from Belgium, 4 from Luxembourg and 4 from other countries. We picked up 7 new members at the â&#x20AC;&#x2DC;Foto Fairâ&#x20AC;&#x2122; in The Netherlands at the end of May 2016. Thanks to Frank Geraedts for having helped us to have a stand at the Foto Fair to publicize the Benelux Chapter. With further activities being planned over the coming months, we hope to further increase membership in the very near future. RPS BeNeLux Chapter website Our website is a very important source of publicity for our Chapter. Tony Roe, our webmaster, has been busy adding material to the website. Please take a look at it. We would like to encourage members to add photo albums of their work to the galleries on the website. For members with Distinctions, this could, for example, be photos from your panel. It is not difficult to do. Once you log into your RPS account (upper right hand side on the RPS website), go to the My Profile page. The necessary information for adding an album and uploading your images is then provided. The galleries are an important starting point for some of the future activities that are being planned. Besides uploading photos, we would like members to provide information for the Events, the Blogs and the Forums on the website. In addition, we are planning a separate members page where Chapter members can provide a selfie photo of themselves (optional), their name, town and country, a few words of what they like to shoot and the link to their personal website if they have one. In this we hope to increase commu-

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nication between members and allow members to contact those close by who have similar interests. If you would like to provide information for our RPS Benelux Chapter website, whether for Events, Blogs, Forums or the member’s page, please send the information to Tony Roe and also put Richard and Janet in copy. E-mail addresses are provided in the Acknowledgements. Recent RPS BeNeLux Chapter activities Since our last eJournal in January 2016, we have held a Distinctions Advisory Day in Brussels on 13 February (see article page 4). The Chapter also had a stand at the Dutch Foto Fair in The Netherlands on 28 - 29 May where 7 new chapter members were recruited. Although the Chapter meeting that was planned to be held in s’Hertogenbosch in April had to be cancelled, a very successful AGM was held in Biesbosch on 4 June with 22 attendees, which was followed by a boat trip through the area. Frank Geraedts organized a landscape photography workshop that was held in Westkappelle, The Netherlands, on 12 November with 14 participants. Photo RPS-website: Janet and Frank on the Foto Fair. Future RPS BeNeLux Chapter activities - An RPS Benelux Chapter exhibition with 30 prints will be held at the RPS HQ in Bath in January/February 2017 (page 5). - Visit to Didier Verriest’s Studio in Ghent, Belgium, on 4 February 2017 (page 24). - Benelux Chapter Advisory Day on 4 March 2017(to be confirmed). - Participation in the Dutch Foto Fair on 21 May 2017. - Visit to Ypres, Belgium, which is tentatively scheduled for 4 June 2017. - Chapter meeting in September 2017. We welcome contact from both RPS and non RPS members who are interested in getting more information about the Chapter and in participating in our activities. Janet Haines, ARPS Richard Sylvester, LRPS RPS Benelux Chapter Organizers

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DISTINCTIONS ADVISORY DAY Text and photo by Richard Sylvester Under the guidance and expertise of Roy Robertson (photo) and Armando Jongejan, the BENELUX Chapter of the Royal Photographic Society (RPS) held a RPS Distinctions Advisory Day (DAD) in Brussels on Saturday, 13 February 2016. Richard Sylvester and Eddie Maes were the local organizers. Nine participants sought advice from Roy and Armando on their panels: 5 for a Licentiateship (LRPS, 10 images), 3 for an Associateship (ARPS, 15 images) and 1 for a Fellowship (FRPS, 20 images). There were also 5 observers who attended to get more information on the RPS, the Distinction process, and witness first-hand the advice being provided to those bringing panels. Seeing a wide variety of sets of images and hearing the comments, analysis and discussion is an interesting and stimulating experience. Although this was a RPS event, nonmembers were also welcome and encouraged to participate. RPS Distinctions are recognised as measures of achievement throughout the world. When you work towards a Distinction, you will improve your photographic skills and also know that once you have been successful, the quality of your work will be recognised worldwide. Practical information and guidelines on RPS distinctions can be found at www.rps.org/distinctions. We intend to organize another Distinctions Advisory Day in the Benelux on Saturday, 4 March. Please donâ&#x20AC;&#x2122;t hesitate to contact me for further information.

BENEFITS OF JOINING THE RPS By Richard Sylvester The Benelux Chapter of the Royal Photographic Society (RPS) is no ordinary photo club. Be part of a large international esteemed organisation. It is there to promote photography. You learn as fast as you want, get feedback on your photos, but there are no fixed subjects or timelines. Members are from different countries and have different backgrounds, experience, and interests. #1 Enjoy our Monthly RPS Journal News, reviews, events and some of the best photography around. #2 Benelux Chapter Newsletter Stay up to date with the latest news in our Benelux Chapter newsletter. #3 Explore the RPS website The RPS has a website full of information, including a page dedicated to the activities of the Benelux Chapter. #4 Regional and Chapter Meetings Participate in meetings and events close to home. Meet other like-minded photographers. #5 Improve your Photography Get expert advice on your images during Chapter meetings and when applying for a Society Distinction. #6 Achieve a Society Distinction Get a sought after Distinction, gaining recognition on an international basis. #7 Exhibit your Work Promote your Portfolio on the Chapter website where your images can be viewed by an international audience. Show your work to a large audience in international touring exhibitions and online competitions.

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THE BENELUX CHAPTER PRINT EXHIBITION WILL BE HUNG IN FENTON HOUSE by Janet Haines With room for 30 images, BeNeLux Chapter members were invited to submit 3 images, from which one was selected for the exhibition. The selected works were then printed and mounted by the authors and will be taken to the UK by Janet Haines when she visits Bath in December. 26 members have work being shown; one or two of them having two prints hung. The variety of work will make the exhibition interesting to the visitors at Fenton House, Well Road, Bath. There will also be a short statement about the Chapter. Each image will bear the title and authors name. So if any of you are going to be in the vicinity of Bath in that period why not go along and see our first ever BeNeLux Chapter Bath exhibition. Once the collection is returned to the Chapter it is hoped that we will be able to arrange hangings in locations in each of the BeNeLux countries. If you are able to assist with finding a venue where you live, and are prepared to hang the works, please get in touch with Janet Haines janet.haines@me.com.

ÂŠ Cobi Neeft - from her series Krommeniedijk, will be shown in Fenton House

Exhibition Period From January 17th to February 27th 2017. Location Fenton House 122 Wells Road Bath, BA2 3AH

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SPECIAL INTEREST GROUPS By Janet Haines (and chair of the Digital Imaging Group digchair@rps.org) Did you know that the RPS has fourteen Special Interest Groups – referred to as SIGs for short. These are not aligned to any geographic territory but serve members with similar interests, anywhere in the world. To belong to a SIG you need to be a member of the RPS and then pay a small additional annual subscription. Primarily they have been set up by members who wish to work with other photographers in the same genre. For a full list of all the SIGs go to http://www.rps.org/special-interest-groups. Some find the various choices of SIGs confusing and certainly there is some overlap. Broadly speaking you decide what style of work you consider you do. Armando for example is very much in the Contemporary category and so belongs to that group. He does panels of work on a given subject and tells a story with his images. Groups like the Medical, Imaging Science, Historic, Audio Visual, Historical and Archaeology and Heritage are small interest groups but with easily recognised areas. If you want to be with likeminded folks then these are for you. But possibly Documentary is for you if you like doing street, urban and documentary work. Two easily identifiable Groups, but with larger membership, are the Travel and Nature groups. With them what it says on the tin is what they do: easy. Now we come to the ones that confuse us all. Where is the line between Creative and Visual Art? How does the Digital Imaging Group (DIG) fit in – do they only do highly Photoshopped work? Creative apparently try to ‘stimulate the imagination’ – but I would ask, don’t we all aim for that? Visual Art is said to ‘interpret subject matter’ – again how is that different? And NO the Digital Imaging Group is not all about using Photoshop, they cater for all styles and categories. The line between these is very thin and difficult to totally define. You might be drawn to one or another by the size and activity level of the Group – DIG is by far the largest group in the entire RPS with 1600+ members and has a very active programme, which includes many overseas members. Finally we come to the two newest kids on the block – Landscape and Analogue – YES I did say Analogue. 20 years since the Digital Imaging Group first started up, when slides and film were the norm, film is now in the minority. But those who just love their darkrooms, chemicals, and the joy of working with film have formed a new group to exchange ideas and images with one another.

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If you are considering joining a SIG the best thing you can do is read their web sites, look at their members’ work and the programme of activities they offer. Some are very active in the UK but might not really cater for overseas members (OS). Things to look at for an OS member is what do they offer online. Do they have a Forum you can participate in? Do they post out their magazines to overseas members? How often will these come out? Do they hold competitions that you can enter? Don’t be afraid to contact the Group representatives to ask your questions. It may only be about £15 per year to join a SIG but will you get value for money? OK, so I am a little biased as I am the Chair of the Digital Imaging Group and of course we are the best – but then I would say that wouldn’t I! However, if you want to talk to me about joining then I am happy to chat. I will even send you a free magazine as an example. Finally do consider joining the best Special Interest Group that suits you. It is an excellent way to link up with photographers doing work in the same category as you. This inspires and helps us all to progress in our photography and that is exactly why the RPS exists. Contact the RPS membership groups The membership team are able to help and can be contacted on +(44)1225 325733 between 9am and 5pm Monday to Friday GMT or membership@rps.org.

OVERSEAS RPS MEMBERS VIDEO ADVISORY SESSIONS One of our Belgian members took advantage of a new initiative from the RPS HQ at Bath, set up especially for members living abroad. He sent his proposed ARPS panel and 5 spare prints to Bath. Just A4 unmounted prints were all that was required. Then in just the same way as would be normal at a UK meeting one of the RPS panel assessors examined and commented on the work, being recorded on video as he did so. The video was then sent to our member and it is extremely helpful and positive feedback. The individual now knows what that particular Assessor feels he needs to do to get to standard before submitting his final panel for his Distinction. The bonus is that were he attending a live Advisory Day what the assessor said would not have been recorded, whereas this way an individual can return to the video time and time again to check he has covered all the aspects of improvement suggested. It should be noted though that any advice received from an Advisory Day never guarantees that your final panel will get through the Distinction Assessment. It is but one assessors opinion of your work and when you are judged at Distinction by a broader panel then opinions may differ. Nevertheless it is still extremely helpful advice and well worth having.

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DISTINCTION SUCCESS Several of our Chapter members have had recent successes, so our congratulations go to: Dawn Black Greg Dunn Sue Goldberg Tony Roe

ARPS LRPS LRPS LRPS

Achieving any level of Distinction is not easy and getting a rejection can be very difficult when one has put so much time and effort into producing a panel. But we learn, possibly more from a rejection than a success. The feedback report tells an individual what needs doing to get up to the standard. In the case of a ‘near miss’ often panels are given the opportunity to resubmit just one new image, or to improve the printing quality. All of us are striving to improve our photography and there is no better way than to challenge yourself by taking your Distinctions.

MORE INFORMATION ABOUT THE RPS AND OUR CHAPTER For more information concerning the Royal Photographic Society and the BENELUX Chapter, visit the websites. RPS membership is open to anyone interested in photography, whether they be amateur or professional, artist or scientist, young or old.

STUDY GROUP The BeNeLux Chapter holds a monthly meeting for members and non-members to work towards their Distinctions. Up until now these have been held in Den Haag but early in 2017 we will be moving to a new venue in Rotterdam. Here we will have internet access and this will offer us a huge advantage as not only will we be able to pull up relevant information from the RPS website but perhaps more importantly will enable us to ‘virtually’ involve Chapter members who cannot get to Rotterdam. ‘Virtual’ attendance has been trialed and worked really well. We linked up using Skype conferencing to a member. The iPad sat on the desk and they could see and hear everything we were discussing about a panel of work. The remote attendee could contribute in almost the same way as someone in the room. The only adverse comment afterwards from the ‘virtual’ person was that they couldn’t always see who was talking, however it was but a small issue. If you are interested in joining our meeting in this way then do contact Janet Haines on janet.haines@me.com. © Kim Bybjerg

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THE PRAKTINA IIA SLR SYSTEM CAMERA By Eddie Maes LRPS It has been almost accidentally that I started collecting historical and classic cameras, back in 1970. It has been an on-going passion, and the usability of an ancient camera, however elaborate (and sometimes absolutely “crafty”) it may be, is certainly one of the rewarding aspects. Thinking about classic single lens reflex (SLR) cameras it is obvious that a small number of names immediately come to mind: Nikon and Canon, still strong today, and lesser gods such as Asahi Pentax (with many early innovations), Minolta, Exakta or Praktica. This rare one, however, was a very advanced system camera that was quite a bit ahead of the others, in time as well as in features. The Praktina IIA is the last of the line of Praktina models made by KW Kamera Werkstatten Dresden. It's far origin is in fact the Praktiflex, a very basic SLR (1939-1946) whose further development, after KW Dresden was absorbed in a merger forming Pentacon, yielded the much better known range of Praktica cameras, which were produced till the late twentieth century. This, however, is a completely different story, in a different league. Indeed, by 1952, KW produced a fully redesigned camera, the Praktina.

© Eddie Maes. The wide landscape of the island Texel (NL) with its ever present flocks of sheep. The photograph was deliberately taken at a 45 degree angle against the late afternoon sun, and an obvious lens flare can be seem (Tessar 2.8/50 with six blades diaphragm). The Praktina family KW designed their original Praktina from the beginning as what later would be referred to as a “system camera”, essentially accepting not only different lenses but also different interchangeable viewfinder systems, as well as a number of other elements extending the potential of the camera. After less than two years and some 10.000 cameras built, the more

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advanced Praktina FX was introduced, and would become the largest production with 67.000 pieces. In 1958 a third Praktina, model IIA, was introduced, and until 1960 25.000 to 30.000 cameras (sources differ) were built. Although production was halted in 1960 or 1961, because the cost became too high, new Praktina IIA cameras from stock remained on the market till the middle sixties. Already in 1952, the first Praktina model was a full system camera. The final Praktina IIA had exchangeable components and a wide range of accessories for different purposes. The basic IIA body accepts interchangeable lenses, with a quite unique breech-lock lens mount: the lens is simply positioned onto the camera body, without rotation (unlike screw or bayonet mounts), and is held in place by a rotating ring that is integral part of the camera body. The viewfinder can be exchanged (prism, waist level hood or top viewing magnifier, later also a prism with an uncoupled selenium meter). A little puzzling element there: the viewfinder slides out backward, after being released by a small latch located just below the lens. The back is interchangeable; it is not hinged, but comes off completely, and can be replaced by a 17m film magazine, allowing for about 400 exposures. The camera is also equipped with a bright direct viewfinder; useful under very low light conditions, but obviously only covering the 50 mm lens field of view. This is a rare feature that was also found in the early Asahiflex (1952), forerunner of the Asahi Pentax line and earlier in the Russian Sport SLR of 1937.

ÂŠ Eddie Maes. The church of the small village of De Waal (Texel), dating from the middle 19fifties. A spectacular angle possible with the excellent Flektogon 4/25 retrofocus wide-angle lens. The standard lens with this camera is a Tessar 50/2.8 from the East-German Carl Zeiss Jena company. Although the lens mount is unique to the Praktina, probably due to it's fine technical reputation a number of other lens manufacturers have provided fine lenses in Praktina mount, among them Meyer-Gorlitz (Tele-Megor 180 and 400 mm), but also the WestGerman Schacht (Ulm) and Enna (Munchen) companies. Maybe the most remarkable among them are the different (35, 25 and 20 mm) Flektogon wide-angle lenses, made by Carl Zeiss Jena.

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The Flektogon lens In the middle 19-fifties the SLR market had become relatively extended. However, the mirror in the SLR construction, which needed room to swing up at exposure, made it impossible to use existing wide-angle lenses, due to their short construction. A possible answer was locking up the mirror, and using an optical external viewfinder, thereby losing the advantage of SLR vision and focusing. A better alternative was the so-called retrofocus lens construction. It could be described as a standard lens (not interfering with the mirror movement) with a negative lens mounted before it that changes the angle of view to wide. Of course, the combination of both is calculated for optimal photographic performance. Barrel distortion and vignetting were the main problems that needed correction, and are very well handled in the Flektogon lenses. The Swiss company Kern was first to construct this type of lens for cinematography back in 1931, but Angénieux (Paris) and Carl Zeiss (Jena) followed in the track for 35 mm reflex cameras. Flektogon lenses were to become available for a number of different makes of SLR, and for some rangefinder cameras. Flektogons of 65 mm and 50 mm were also built for the medium format Pentacon Six camera, offering competition for Hasselblad/Zeiss Distagon wide-angle lenses.

© Eddie Maes. Trees in the landscape are rare in Texel, except in the Dennenbossen area near the western coast. This picturesque stretch of elevated street, connecting the village of De Waal with the main road is a rare view, and not without reason is called “Bomendiek”.

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Legends to illustration The Praktina IIA with standard lens. Film transport is still done with a winding button. To the right of the lens is the direct viewfinder window. On the prism appears the Kamera Werkstatten (KW) logo.

The standard Tessar 2.8/50 lens (below), and two wide-angle lenses by Carl Zeiss Jena and Enna Munchen.

The Praktina IIA equipped with the bulky Flektogon 4/25 wide-angle lens.

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The camera equipped with the magnifying viewfinder that replaces the prism, and two of the three extension rings; the third ring shows the diaphragm release mechanism protruding. A waist level finder and an extension bellows were also available.

The Praktina compared to the Exakta Varex and the Zeiss Ikon Contax D SLR, both more or less contemporaries. The Exakta had comparable advanced features and accessories that definitely qualified it as a system camera. The East-German Contax D, here with a Biotar 2/58 lens, carried the reputation of Zeiss Ikon's reliability and optical quality.

PERSISTANCE PAYS OFF By Dawn Black ARPS I have been contemplating and trying to achieve my Associateship for a couple of years. My initial approach was to look at my extensive landscape and landmark monochromatic archive and try to make a panel from it along with some shots made especially for the ARPS to fill some gaps. This approach simply did not work. My first attempt was too wide a subject and not coherent. My second attempt of “Under Dutch Skies” was put in front of an Advisory Day in Brussels but my statement and panel were considered not to reflect each other properly with little encouragement regarding the style either. Frustration and despondency set in. Then, on a group photography trip to Paris in February this year we happened to have a talk about and walk around the celebrated Père Lachaise Cemetery. Whilst many were hunting down their icons graves, I was totally mesmerized by the angels and lamenting figures adorning a lot of the more modest monuments. (Though I must admit I did seek out the Jacob Epstein monument to Oscar Wilde!) © Dawn Black

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Â© Dawn Black

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When travelling I rarely process the images immediately, allowing myself the time and distance to be more objective about the photographs. On reviewing them at home I felt I had came away with 3 or 4 really good images that resonated with me emotionally. This led to a blog post, which planted the seed of an idea – could I expand on this to create my ARPS panel? I quickly hatched a plan to return to Paris in April to shoot more (and in a less haphazard way!) I spent two full days wandering the cemetery, up and down the rows, into all the corners, covering all the sections – and there are a lot of them – seeking out any hint of an angel or similar. Knowing I needed to fulfill the guidelines set out by the Society for the panel I took wide angles, look throughs, close-ups, different framing (horizontal, vertical and square) and different depths of field. It was always going to a monochrome panel. The emotion I wanted to convey simply wouldn’t come across in colour and I made sure I processed the images in a consistent way within Lightroom and Silver Efex Pro. Fairly happy with the results I took the panel along to the RPS Benelux study group that we are running in The Hague as well as asking Armando Jongejan for some feedback. It was mostly positive with only a few variations suggested regarding image choice and layout. Feeling good, I submitted the panel for assessment in Bath in June. As I could not make it across to the Assessment Day I waited with baited breath for an email to come through to let me know how I had done. It came, and I had not passed. My heart sank. The Assessment Committee felt that one image let the panel down technically and gave me a Referral. The picture was not critically sharp where they felt it should be. I could see their point – the image in question was shot at f/1.4 and had a very shallow depth of field, added to the fact that that particular statue was very weathered made it look blurred (she is shown below). Now the decision was what to do about it. I tried placing other images from my shoots into that space but nothing worked for me. There was only one thing for it - to go back to Paris again and re-shoot her, but better. This I duly did with the company of Jay Haines who helped me find the right monument (it took 2 hours to find!) I took at least 20 fresh images at various apertures to make absolutely sure I got it right this time!

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I re-submitted my panel “Melancholy” in October this year and passed. The relief when getting the email was palpable. I am proud to have persevered and to have gained the distinction in the end! My advice to anyone setting out on the process is to establish your idea, keep it simple, shoot to your idea, make sure you are really strict with yourself on the technical side and keep trying – persistence pays off! © Janet Haines – “Dawn reshooting her ‘lost angel’ that took us 2 hours to find…”

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Statement ARPS Pictorial Panel, 15 June 2016

“MELANCHOLY” I have always found cemeteries to be affecting; they truly impact my mood, making me contemplative and withdrawn. Pere LaChaise Cemetery in Paris is one such place. Meandering through the seemingly endless rows and sections of monuments, I am always instinctively drawn towards the angels and lamenting figures adorning the graves. The mourning, emotional sculptures really speak to me as I feel an affinity with the sadness being portrayed, echoing my own sadness after a difficult few years in my personal life. (Word count = 82)

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OVERALL IMPRESSION OF A PORTFOLIO IN FIVE STEPS By Armando Jongejan As Richard and Dawn have written earlier in this newsletter, to send your panel for a distinction is good but not always easy. It takes preparation time and a lot of effort. For that reason I am writing something about the process of an Advisory Day and, even more important, during an Assessment Day for Licentiate-, Associate- and Fellowship. What are the main issues to look at during these days? © photo RPS First of all it is about presentation - the overall impression of your portfolio. Some say the ‘hanging plan’ is the extra image of your panel. It is about editing, selection, sequencing, variety of approach, cohesive display and repetition of similar images or techniques. The next step is technique of your camera work. An appropriate point of focus and sharpness is vital. It is about correct exposure and density in the image and the depth of field for the subject matter. The look and your shutter speeds and/or aperture and suitable management of artificial or natural light sources are important. This was just the second step… The third step is the technical quality of your technique. Did you do the right process, record correct highlight and shadow details? Is your contrast all right? Your post-production steps plus the choice of final image size and material. Colour management, rendition and tonal control in monochrome must be perfect. Fourthly, it is about your way of seeing and visual awareness. It is about your understanding of light and its effect on moods and texture, as well as cropping or framing the images. How you use your main subject in combination with the backgrounds and viewpoints for effect plus the use of colour or monochrome as is suitable for the subject matter. The fifth and final step in this process is about thinking and communication. What is your personal input, understanding and empathy with your subject? Is there communication of mood and ideas? Is your intent clear? And, of course, did you capture the decisive moment? All together these are a lot of issues but meanwhile it is about storytelling; your story and the way you want to explain your theme or series. Richard wrote about it in the right way: “When you work towards a Distinction, you will improve your photographic skills and also know that once you have been successful, the quality of your work will be recognised worldwide. “ If you have questions about the technical issues mentioned I have found a simple, but very effective explanation of these and provided here in the following the article by Daniel Peters.

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SINGLE PICTURE EXPLAINS HOW APERTURE, SHUTTER SPEED, AND ISO WORK by Daniel Peters at http://blog.hamburger-fotospots.de If you’re a photographer, it can be helpful to have a simple guide that helps you understand the different settings that you can toggle on your DSLR camera. While this helpful exposure chart by Daniel Peters at Fotoblog Hamburg won’t explain HOW the optics of photography work, it will show you exactly what happens when you tweak your camera’s settings. The three settings in this chart are part of what photographers like to call the exposure triangle. ISO is the digital camera sensor’s sensitivity to light. The aperture is a structure in your lens that works much like the iris in our eyes. It opens and close to let more or less light in, and also changes the depth of field, or how many different objects can remain in focus in the shot at the same time. Last is the shutter speed, which controls how much time the camera’s shutter remains open when taking a photo. A longer shutter opening will let in more light but may also cause blurring if any motion occurs while the photo is being taken.

Source: by Daniel Peters If you want to print the cheat card, please download it.

THE NEXT CHAPTER MEETING IS ON SATURDAY FEBRUARY 4TH 2017 Didier Verriest ARPS is hosting us in his studio in Drongen – Belgium. Details of the day are still in discussion but we would hope to have some hands on shooting opportunities for those attending, plus instruction on how to prepare for a shoot and setting up various lighting schemes. Full information will be emailed out to all members shortly. In the meantime: reserve the date and address in your diary: Argus, Drongenstationstraat 51, 9031 Drongen in Belgium.

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FRANK GERAEDTS LANDSCAPE WORKSHOP By Janet Haines The morning started off well with a delicate sunrise, giving hope that the day would be perfect. However by the time the 14 participants met in Westkapelle the sky had turned grey and the north wind did blow. Undaunted we huddled in the lee of a building for the brief presentation from Frank and his partner Yvonne. We learnt a few tricks and each stated what we wanted to get out of the day: primarily the first stop being at the beach café for a hot drink, before we exposed ourselves to the cold wind and the cameras to the scenes around us. Westakapelle offered more variety than one might have imagined at first glance. Rows of groynes reaching in to the sea, sand dunes, rocks appearing as the tide receded. Frank and Yvonne popped from student to student making sure we understood the finer points of using filters and the balance of the various camera settings to ensure the best possible results. Given pretty dull light it was a testament to his teaching that most of us came away with some respectable images. © Janet Haines Despite it taking a good while back in the comfort of our cars to warm up again, we all enjoyed a good day out and a definite growth in knowledge and skills.

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ÂŠ Jan Ros, made with an iPhone 6, during the landscape workshop

Thanks to the generosity of Frank and Yvonne running this Chapter meeting for us at zero cost the ticket sales mean we have now got a small amount of funds in the Chapter account. The Chapter are indebted to you both â&#x20AC;&#x201C; thanks Frank and Yvonne.

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ROCKIN’ ROTTERDAM HITS THE STREETS By Janet Haines Our Chapter winter project is to take one creative image in every street in Rotterdam. Prior to the public launch, on Sunday November 27th outside the Markthal at 10.30, in central Rotterdam, six members had a trial run to make sure our Meet UP (photo walks) would be a success.

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The weather was good, the maps were distributed and off we all set. Several of us were on bikes, which we found a great help to move around more quickly, but slow enough that we could see the photo opportunities. A few minor problems were found which has enabled us to put things right ready for the public. We all thoroughly enjoyed the day, each finding that discovering this fascinating city at such close quarters was really interesting. But even before we could get to the official launch our Press Man, Jeroen Dorrestein, has had media interest and live interviews with Radio Rijmond and FUNX. Photos from the public started arriving shortly after. Now the fun starts – do the public understand ‘creative’? Answer mainly ‘no’. So for those who are sending us regular images a little subtle coaching has been essential. Others we just have to accept – after all there are 4000+ streets to shoot so we can’t be too fussy.

Information about Rockin’ Rotterdam also available online.

BeNeLux Chapter eJournal - number 3 - Autumn 2016

Another success has been the ‘Own a Postcode’ initiative. For this individuals, groups or clubs can take one neighbourhood (postcode) exclusively for them. They commit to shooting each street before the end of February and in return we credit them and if they are a club we link up our web sites. Ultimately we hope that we will be able to get a high profile location for the exhibition of all the images – but that is still in discussion. Why not come and join us on a Sunday photo-walk? All the dates are on the Rockin’ Rotterdam web site www.rockinrotterdam.eu (web site developed by member Vincent Klijn) This is your Chapter project – so your chance to be involved in something that we hope will be a rockin’ result. Spread the word and follow us on www.facebook.com/rockinrotterdam and Twitter @rockinrotterdam.

BeNeLux Chapter eJournal - number 3 - Autumn 2016