RPS Benelux Chapter eJournal Issue 4 Summer 2024

eJournal

ACKNOWLEDGEMENTS

The Royal Photographic Society Benelux Chapter

Editor & Designer eJournal

Katherine Maguire ARPS

Proof reading

Sue Goldberg LRPS

Treasurer

Jeroen Dorrestein LRPS

Organiser

Carol Olerud FRPS

Webmaster

Katherine Maguire ARPS

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

Liability Disclaimer

The author of an article is responsible and liable for all content, text and images provided by them. Neither the RPS Benelux Chapter nor the editor is responsible or liable for any content therein.

Cover photo

Annemarie Jung

VIEW FROM THE RPS BENELUX CHAPTER ORGANISER

I can’t believe it’s May already! Our second eJournal for the year is here. Katherine Maguire has done a great job of collecting articles and getting a layout done, which is sure to inspire our readers. Sue Goldberg has done an English language check to make sure the articles are actually in English! Thanks to our contributors for sending in photos and text. Without everybody’s input we won’t have anything to share. So please, send in photos and articles for our next eJournal. It’s nice to read about what you are up to.

We have a weekend away planned for 18-20 May in Brussels. The Weekend Wonder Walk, organised by Brussels Viewfinders photo club. This is going to be great fun, meeting new and familiar faces and exploring the city of Brussels. We will be able to tell you all about it in the next issue.

Theme time! We brainstormed during our recent Study Group Zoom and together came up with our next Theme. It’s ‘Movement’. This is a great theme as you can photograph anything, so long as movement is shown in some way. Think of ICM, panning, or freezing a moment in sport etc etc. We will send out information about it soon, but you can start taking photos!

Speaking of Zooming, we still hold our regular every two month Zoom sessions on the first Tuesday of the month. Anyone is welcome to share your projects or just to join in and talk photography with us. We had a few new faces yesterday and lots of ‘show and tell’ photos were shared. We went on for two hours and this is a good sign that people are enjoying the evening. Please remember we are on Dutch time, which is an hour ahead of UK time, we start at 8pm which is 7pm in the UK. Other countries you will have to calculate your time difference. It’s not necessary to be a member of the Benelux Chapter to join. Thinking of the ‘Photography for Everyone’ RPS strategy.

Recently people have been telling me that they are using their mobile phone cameras more and more, instead of lugging around a bigger camera. I find that I too take more and more iPhone photos of my daily life. You can be very creative with your phone cameras, so why not? There is no good or bad about it, any photo is a photo, it’s the end result, not the how you got there! The quality is so good lately, it’s hard to tell the difference.

Our next meeting is in Rotterdam at Het Palet on 4 June, where you can bring your prints with you. Some members are working towards Distinctions so it’s the perfect place to bring your panels to. Our next Zoom will be on 2 July and then we have a summer break in August. We start again on 3 September in Het Palet. So, save the dates in your agendas.

See you in Brussels, or live in Rotterdam or in a Zoom! Start your ‘Movement’ photos! Stay well.

Carol Olerud FRPS

May

2024

Zoom 7 May 2024, in the end 9 people turned up

Talk to ViewFinders

Photo Club

18

Intentional camera movement

Panels

Katherine Maguire ARPS

Broncante a Lille

Magda Korthals

Easter Cattle Show

André Bergmans 50

Jana Teneva

Carol Olerud FRPS

Members’ Photos

Brussels Jazz Weekend 24 - 26 May 2024

Dark rooms of… Alain Astruc

Marcel Borgstijn

Talk to ViewFinders

Photo Club

Brussels 13 March 2023

Illness

and how its shaped my photography over the past 6 years.

Katherine Maguire ARPS

I was invited to be the guest speaker at the ViewFinders club meeting on the 13 March. I gave my talk about my photography over the past 6 years, and how it has been influenced by my illnesses.

My talk focused on the 2 major projects that I have worked on.

The first project “Damaged Retinas” was an attempt to show how having damaged retinas has affect my vision. Permanently damaged by an unknown eye disease in the late 80’s and further damaged by a rare eye disease, “presumed ocular histoplasmosis syndrome” (POHS), 20 years later. This has caused a number of “Histo” spots to form on my retinas, and in 2013 an abnormal blood vessel erupted from one of them, resulting in me losing some of the vision in my left eye. The damage means that my vision is always blurred, which unlike myopia cannot be corrected with glasses. This meant that at an early age, cataracts had formed and I needed to have cataract surgery at the age of 51.

I also have frequent attacks of ocular migraines. It was walking to work during one of these attacks that I got the idea to start the project about my vision. I wondered how I could show these problems with my photography.

I discussed how I created each image by taking two images and then combining them to make a single image. One half was how “normal” sighted people see and the other half was what I see. I described how I took each image, first taking my view by setting the lens to manual and a distance of 5 meters, then retaking “normal” sighted view using autofocus as I am unable to manually focus a camera accurately. Then I combined both halves in photoshop and ensured that the vertical alignment never matched.

I further explained the how I produced the mounted prints used for the submission to the RPS. By creating a template in photoshop, so that each image could be printed on A3 paper and separated by 2 centimeters because the mount cutouts could only be professionally produced with a 2 cm separation.

I gained my Associateship in 2021 with this project.

It was during 2020/2021, I was dealing with another chronic illness (polyneuropathy) and the sickness process with my ex-employer and the Dutch employment services. My mental health suffered as result. Getting help via a mental health course, gained me the ability to understand how my thoughts can affect my physical symptoms and vice-visa. By focusing on goals, one of which was to be more creative, I again began to wonder if could use my photography skills to show my illness.

Using a series of self-portraits, I started a new project “I am not invisible, but my illness is”, which is outside of my comfort zone, as I don’t like being front of the camera. I started it to help my mental health and it has now become a kind of self-help therapy.

I have suffered from a neuromuscular condition since 2016 but it took until 2019 before I got the diagnose of Small Fiber Neuropathy (SFN). The small nerves in my body misfire, resulting in me experiencing pain and numbness when there is no external cause. This can be in the feet, legs and/or hands. It can also lead to abdominal problems.

This is an invisible illness, just like my eye condition from my previous project, you don’t see these illnesses. To others I look healthy, people don’t see what lies beneath.

I explained how I create my images via the two methods; in-camera and using photoshop. My work process is to use a tripod, taking two images. I take the first image where in one I am in front of the camera, using a remote to set off the timer on the camera, so that I have time to hide the remote. I repeat the same shot with me behind the camera, creating an in-camera multiple exposure, saving the individual images to give me the possibility of using photoshop to create a new and different multiple exposure image. With photoshop I can control the level of my transparency of the final image, whereas with in-camara method, I need to take more than 2 images.

I explained that my illness will always be part of me as the only treatment option on offer is symptom management and it is invisible to others. I use my photography skills to create the metaphor that the less you see of me the more I am consumed by illness. I liken my body to that of a rechargeable battery that is incapable of fully recharging, always running on reduced energy, with SFN stealing at least of 30% of it.

As I mentioned before I started this project as aid to my mental health, not with the intention of it being a RPS fellowship panel. But it slowly developed into a potential fellowship. I don’t knowwhether it will reach the technical requirement of the RPS fellowship, but I am getting help from the unofficial fellowship P2P group and the Benelux Chapter study group.

Although it would be nice to obtain an RPS fellowship sometime in the future, if it does not, it will still be a successful project because my overall goal is to boost my mental health and it has already helped with that.

I enjoyed giving the talk to the members of the ViewFinders club and got good feedback and encouragement to continue with my current project.

All photographs copyright of Katherine Maguire ARPS.

See my website for more of my work.

Broncante Lille a

Magda Korthals

Issue 4 Summer 2024

The Lille “Braderie” annual street market is Europe's largest flea market. It last took place on 2 and 3 September 2023 and is known throughout France and far beyond.

With more than 10,000 stalls spread over a length of 100 kilometers, the market makes parking in the city impossible.

Every year between 2 and 3 million bargain hunters from all over the world come to the fair to find the rare pearl/trouvaille, to get bargains, but above all to immerse themselves in an atmosphere that reflects the city: friendly and festive.

What interests me is that people take so much trouble to manage to get hold of junk that someone else discards, to purchase and take home with them.

While amidst the crowds, I wanted to capture that behaviour, and I will definitely go again this year to Lille to complete my panel.

All photographs are copyright of Magda Korthals.

Intentional camera movement or

Just a rainbow of colour lines

Jana Teneva

Intentional

A few years back, while visiting the “Wildlife photographer of the year” exhibition in Leiden, I spotted a gem. It was a picture of a beach in the Canary Islands, but it looked like an impressionist painting. The photographer had explained in the description that he had moved the camera while the photo was being taken and this intentional movement created the magic.

The sand, the sky and the sea had turned into blurry and wavy lines and the result was simply mesmerising! I was sold, I noted all details he used (ISO, aperture and shutter speed) and I knew directly where I would do my first trial.

Tulip lines Dutch spring

You see, I have my favourite island, a place with dreamy beaches and todie-for colours. So a few months later I was at my beach in Sardinia carrying my heavy SLR and 3 lenses, ready to start my practical trial and error. I must have taken around 50 shots and out of them one was what I wanted, but oh boy, was I hooked!

Sardinia fifty shades of blue

This technique called “Intentional camera movement” has something in it which allows you to turn your photographs into a mix of a photo and a painting. So, I kept going. Next were the flower fields in the lowlands. I already had experienced that you cannot do this in the middle of the day with bright light. The 2 hours before sunset is the best. You need a colourful scene, patience and your camera on the right settings.

Costa Rica eucalyptus tree bark

And the good news for all of us: you may actually use any background. The more colours and/or some structure, the more interesting the final result.

So far, I have been using this technique in different landscapes from flower fields to a forest of trees to a single tree trunk and its rainbow bark.

Autumn lines Rijswijk

And also in different cityscapes; you may be able to capture atmosphere of a harbour like I did in the harbour of Zierikzee or the night skyline of Melbourne.

Sea of tulip colours in Bollenstreek, spring 2024

Zierikzee harbour

The last one was actually my very first ICM, when I haven’t even heard of this way of shooting but resulted when my hand moved while taking the night shot.

Multiplying a mushroom in the park Utrechtse Heuvelrug

It is for sure a fun way to photograph but it does need you to go through some trial & error. However, here I can be of help and provide some practical tips to support you in the beginning. And these are my tips:

1. You will need a fixed lens, anything between 50 and 100mm will be a good range. I have a 77m, which is great for this. If you don’t have a fixed lens, you may also use a zoom and then even use the zoom to create a cool effect.

2. You will need light, but again not too much light. So, if you are in a shady forest midday that will be good, but if you are in an open flower field, you will need the hours before sunset and after sunrise on a sunny day.

3. Experiment with your aperture. For me what work best have been values in the range of 20-32.

4. As per the ISO my recommendation will be to start with 100 and to see the result before any further adjusting.

Ok, so now you have the basics and I hope that my visual creations have inspired you to give this creative technique a try. Just think about it next time you are shooting, and you would like to have a bit different picture of a place or the nature around you. Have fun and happy intentional camera moving!

All photographs are copyright of Jana Teneva

Panels by Carol Olerud FRPS

IZoom when I can with the RPS Contemporary North group and last time (the of 16th March 2024) they had a theme for the group, which was panels or grids to present your work – portraits if possible. I was reminded of some photos projects I had previously done and presented in panels:

Eyes,is of one family, my sister. Her I took them, and she has this photo hanging husband). It’s the family with three children

They were part of an group exposition I was

Her husband passed away a few years after hanging in her new home (with her new children and a very special photo for her. was in, called ‘Lens voor de Mens’.

Portraits,

is of my family members. Husbands, wives, sisters, daughters, son, brother, Uncle, Aunts, cousins, nieces, nephew, brother-inlaw etc.

I’d taken part in a Mentoring group with my photo club and were told to take photos with different compositions, like macros of faces/eyes which were not the standard portrait styles usually taken.

I’m a colour photographer, but for this collage black & white works better –just for the skin tones. (I edited this for the meeting)

I did a project on

Daughter Relationships.

Part of a masterclass workshop with Rosa Verhoeve (RIP 2018).

A conceptual body of work, which I don’t usually do. It was very difficult to try and take photos of our relationship. I had first made sketches of the idea, a circle with stick figures in different positions!

We are supposed to be standing in a circle (can’t see it because of the long grass) and I have a self-timer button in my hand, the photo is taken when my daughter wasn’t aware, to try and keep the spontanaity and let our emotions go.

Playfulness, love, mother role/daughter role etc.. I think we swapped who had the timer, so that we both had no idea when the photo was taken. (in turns)

My mentor wasn’t overly impressed with it all! I had them in colour and the green was overwhelming now in hindsight. I have since processed them again into black and white square photos to focus on the two people and not so much of the surroundings.

Anyway, now on retrospect, I enjoy these photos (with new edit) it was a period in time with my youngest daughter Lena, she is now living and studying in Sweden and I don’t see her so often!

Even if the project didn’t please my mentor (not a mother) I am extremely pleased myself – to have these photos as a lovely memory, when she lived at home still and we could play in front of my camera!

Taken with Canon 5DM2, 28-70mm f2,8L on a tripod in my overgrown back garden May 2016.

Putting them into a panel and rearranging the sequence, with the four outer corners which are slightly different perspective, works – in my opinion!

This mentor was really good – she got you out of your comfort zone, and this project was the lead up to the one with my Empty Nest Syndrome! She really made you work with your emotions and things you were going through!

The Masterclass group, Storytelling – lasted until 2021 with 2 more mentors.

Young.

This followed on more of a draft. The idea grew and we photo session. Again I had a tripod and a lot of fun and I’m really happy with the

from the previous panel, which was we went to the Soesterduinen to do the and we set up several scenes. We had the results.

The RPS Contemporary North Group, led by Patricia Ruddle always produce a Showcase of the photos shown. It is designed and compiled by Lyn Newton.

Please take a look, there are more grids and lots of photos!

Showcase

Carol’s website

Easter Cattle Show in Schagen (NL)

André Bergmans

The town of Schagen is located on an old mound, on the west side of the West Frisian Circular Dike. Inhabitants from the surrounding West Frisian regions have been visiting this provincial town since the Middle Ages.

Every Summer on Thursday mornings, Schagen has markets based on different themes such as dance, music, costumes and ring tilting. Old trades are shown or re-enacted. Visitors are further taken back to a bygone age and look at a colourful procession of historical coaches and

inhabitants in traditional West Frisian costumes. If you are a good listener, you can experience the different flavours of the West Frisian (Westfrysk) dialects that are spoken. Westfrysk, though spoken less and less, belongs to North Sea Germanic, also known as Ingvaeonic, a postulated grouping of the northern West Germanic languages that consists of Old Frisian, Old Saxon and Old English!

Easter cattle market

Another event that is well-known (and notorious) is the Easter cattle market. This is held ten days before Easter. Why Easter? People are celebrating spring and the nearing end of the (meatless) Lent. Everybody is preparing to enjoy life and farmers and butchers happy enough to show what they have in stock.

To set the scene; during the market there is an absolute ban on alcohol from the early morning till 12:00. Obviously, the serious cattle show and a contest take place, but most of the partygoers can be found in and around the various ‘catering’ establishments surrounding the central market square where the party really takes off after 12:00.

The party is based on the old tradition amongst farmers, cattle breeders, tradesmen and butchers to have a drink in the pub after the deal was settled by the old ritual of clapping hands. Normally the event is quiet and peaceful but quiet is a relative concept here.

Criticism

Cattle shows are under heavy criticism by animal welfare organisations. Their main reasons are that the often-long transport, washing, cleaning and show amidst a cheerful crowd is extremely stressful for these animals.

Especially when you take into account that most of the animals already have been sold to the butchers to be slaughtered just a few days after the show. All this just for the ego and pride of the farmers, butchers and the entertainment of the general public.

The many double-muscled animals are bred to ‘produce’ as much expensive steak as possible. This at the cost of walking or even lying down easily. A calf of a double-muscled animal can only be born by a Caesarean section meaning an operation for the mother every year. This year the animal rights discussion was sparked again as one of the bulls in Schagen fell down, died on the spot as a result of fatigue and stress as can be seen in one of the images. Of the many cattle shows we had in the Netherlands in the past, only two are left.

Chain of events during the market

In the early morning when it is still dark, the first animals are unloaded and brought to the designated spot on the market. Unloading is usually not a smooth process as animals resist coming out of the truck. After unloading they are washed and brushed and groomed with, for example baby-oil. Some get an extra shave to make their muscle structure clearly visible for the international jury. Shaving also has the purpose the releasing the heat better, especially for the more fury animals. The general idea is to present them as champions and win one of the many prizes in their category. Honestly speaking, all the criticism, I can observe that these farmers do care for their animals and they have good reason; it’s their business and their way to make a living.

The selection of the champions takes place in various rounds by a preselection of the total jury and later by a final selection using boards with numbers. The strongpoints and flaws of each animal are explained to the audience by the chair of the jury. Every detail counts; muscle structure in all areas, leg structure and bones in general, skin and general build and of course presentation.

The contestents, in the end, go home (after visiting one of the many pubs) and the party goes on way beyond closing time.

Every year, with mixed feelings, I photograph this show with the idea in my mind that this could soon become a historical event from a bygone era.

All photographs copyright of André Bergmans.

The Dark Rooms of...

Alain Astruc

An interview series

By Marcel Borgstijn

“The Dark Rooms of... is an interview series in which a photographer talks about his or her darkrooms, the digital and the mental, or technical and inspirational. What makes you click?”

Marcel Borgstijn

This interview has been previously published on Marcel’s site Darkrooms and is with French photographer Alain Astruc.

Alain is the author of the Substack Seasons, a - as he describes itphotographic diary and written essays from a French artist and film-maker. Worth a visit!

See the original interview on Darkrooms

Marcel has given his permission for it to be republished in the RPS Benelux eJournal

By the way, if you haven’t read the previous four interviews, in the Darkrooms series, you can find them here.

IWho are you?

My name is Alain Astruc, I am the father of two children and I live in the South-West of France. I am an artist and an educator, using primarily photography and film making, but I always had a strong interest in writing and music as well.

Technical

IDo you think technique is important?

Yes, technique is important in the sense that photography being technological in its essence, it is necessary to master the technical aspects required to achieve what you want to do with it. But as far as I am concerned regarding my photo diary, I have very limited needs, intentionally. I have been doing the same technical things for a long time so that I never have to think about it. I want to take photos in the most intuitive way possible.

IWhat equipment do you use?

I use a Canon 6D and 50mm, sometimes a 35mm lens, nothing else.

I have used many different types of cameras, medium format Mamiya cameras and many analog 35mm cameras, Polaroïds, 16mm and Super 8, DV, Digital Cinema cameras, etc. I also often use a Canon C100mkII Cinema Camera for video.

The transition from film has been long for me but I now absolutely love digital photography and video and I have no intention of taking a film photograph ever again.

IAnd what software?

Affinity Photo, Lightroom and Da Vinci Resolve.

IHow do you edit your photos?

I keep image editing to a minimum, I don't want them to have any specific look. I pay very close attention to the sequencing of my photos though. I show a lot of photos, selections are very important and meant to be seen in a linear way.

Inspirational

IWhere lies your heart?

The language of photography seemed like a second nature to me when I started seriously, unlike some other forms of expression which I had some difficulty with at the time, like writing. I think I am mainly a diarist, even if I do other things too, and if I have often shown some edited selections of chronological sections of my archives, I have yet to make them accessible as a whole. I am working on it.

IDo you have your own style?

I am trying to achieve it in a non obvious way, I intentionally use very standard equipment and minimal image editing so that my style resides in the photographs themselves and their sequencing, and the technical aspect of it is nothing more than a testimony of the time I live in.

IWhere do you get your inspiration from?

The passing of time in life and seasons in nature. The fragility of life and the nature of photography. I love cinema, music and literature. I think the most important thing for me is the fact I am still amazed by photography itself after a long time practicing it.

IDoes your project start with an idea or with a loose image?

For my main diary work, neither. I am in a fight against ideas. To me ideas and intent are for writing, photography is witnessing. It's a daily practice. But I sometimes work on other projects because I also use photography in conjunction with video, music and art.

IWhen is your project finished?

My main diary project is a lifelong one. For the other ones, it's very variable, but I'd say it's like cooking, at some point, you know it's ready.

IDuring your project, do you already know how it ends?

I hope the diary project's end will be a happy end.

IWhat is your favorite photo and why?

I chose a photo of a horse I made in 2005 on a Mamiya c330, next to Albi. A print of it has been bought by a very well known gallery owner and collector in Paris, so I guess it's one of my good ones.

Future

IWhat do you want to achieve?

I want to be able to present my work in a more comprehensive way and I think I have to write about the photos as well as edit the photos themselves. I hope I'll be able to do that in the near future. I also make films and I would like to be able to show photos and films together.

IWhat would you like to know from others? You may ask one photographer one question. What would that be?

If I met Bernard Plossu, Rinko Kawauchi of William Eggleston, I would ask them if they think they've ever managed to photograph the invisible. I met Plossu but didn't ask him.

IWhere can we see more?

Best thing to do right now is to subscribe to my Substack and follow me on Twitter for updates. I am currently working on a new version of my website and hope to have it running in the next few weeks. I'll have a very peculiar exhibition in June in my hometown. I don't want to spoil it because it's something very specific but it's something new and I'll document the making of it in Seasons in the coming months.

Members’

Photos

In this section, you can see photos from our members,

Photo © Sue Goldberg LRPS

Photo © Jan Ros ARPS

Photo © Joaquim Capitao

24 - 26 May 2024

Every year Brussels holds a Jazz weekend, this year it will be held on the 24th to 26th May.

All images © of Felicity Handford and are of the 2022 Jazz weekend.

Upcoming Events

18-20 May 2024

RPS - ViewFinders Brussels

“Weekend Wonder Walk”

For further details please our event page.

Location: Brussels

4 June 2024

Study Group Meeting

An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and nonmembers. It costs €5 per evening, which includes a drink and biscuit. For further details please our events page.

Time: 19:30 until 22:00

Location: Het Palet, Duikerstraat 29,Rotterdam.

2 July 2024

Online Study Group Meeting

An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and nonmembers, this is a free online event…, Zoom link will be sent out before the event. For further details please our event page.

Time: 20:00 until 22:00

Location: Online Zoom Meeting

Photo © Sue Goldberg LRPS

3 September 2024

Study Group Meeting

An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and nonmembers It costs €5 per evening, which includes a drink and biscuit For further details please our events page

Time: 19:30 until 22:00

Location: Het Palet, Duikerstraat 29,Rotterdam.

1 October 2024

Online Study Group Meeting

An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and nonmembers, this is a free online event…, Zoom link will be sent out before the event. For further details please our event page.

Time: 20:00 until 22:00

Location: Online Zoom Meeting

5 November 2024

Study Group Meeting

An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and nonmembers It costs €5 per evening, which includes a drink and biscuit For further details please our events page

Time: 19:30 until 22:00

Location: Het Palet, Duikerstraat 29,Rotterdam.

3 December 2024

Online Study Group Meeting

An opportunity to share your work and get feedback from a friendly group of people. Everyone is welcome - members and nonmembers, this is a free online event…, Zoom link will be sent out before the event. For further details please our event page.

Time: 20:00 until 22:00

Location: Online Zoom Meeting

About the eJournal

We plan to produce an eJournal on a regular basis.

The current release dates 2024 and 2025 are:

16 August for Autumn 2024

15 November for Winter 2024

14 February for Spring 2025

16 May for Summer 2025

Deadline for contributions

Is last day of the month before the release date.

Contributions Articles

Contributions from the members and friends of the Benelux chapter are welcome, whether that be an article or details of the current photo project that they are working on.

Photo © Carol Olerud FRPS

Member photo’s

We also wish to encourage members and friends to submit photos for the Members’ photos section

New Members

The eJournal can also be a place that gives our new members an opportunity to introduce themselves to the chapter.

Cover Photos

Individual photos are also welcome for the cover page,. Photo Submission Requirements

Please send images with the following specifications: • 3000pixlongside • Imagequality8

• nowatermarkortextintheimage

• nobordersaroundtheimage.

When naming your photos please use the following convention. FirstName_LastName_For_eJournal_Title.JPG

The submitter of the article(s) or photo(s) is responsible for compliance with Data Protection and Copyright Acts.

Please send your photos via WeTransfer.com to the following email address beneluxweb@rps.org

For articles, please send an email to beneluxweb@rps.org

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