NORTHERN NEWS ISSUE 18 May 2021
THE NORTHERN TEAM Regional Organiser John Devlin ARPS northern@rps.org
Secretary Lyn Newton LRPS northernsecretary@rps.org
Treasurer John Dilworth
Team Irene Berry Michael Curry Susan Devlin Kathleen Jobson Carmel Morris
NORTHERN NEWS INFORMATION ©2017 All rights reserved on behalf of the authors. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the written permission of the copyright holder. Requests for such permission must be addressed to the Editor. The Royal Photographic Society, Northern Region and the Editor accept no liability for any misuse or breach of copyright by a contributor. The views expressed in this magazine are not necessarily those of the RPS or the Northern Region.
Editor: Lyn Newton LRPS northernsecretary@rps.org
Cover Image by John Macfarlane— Underwater rock formations with surface foam and bubbles forming a stary sky effect.
May 2021
Hi all,
Well, who would believe it’s May already and we are still fighting a pandemic! Although it is of course easing for us here in the UK, that’s not the case for many countries and people in other parts of the world. Our continued thoughts are with those suffering. We have a great May newsletter for you with a variety of work from members in the Northern Region and thank you to all for your continued support.
We kick off with Michael Curry LRPS with an inspiring set of images and a small piece about himself and his photography. Michael has been part of this new Northern Team since its inception sixteen month ago. Hands up all those who partake in Subscape Photography. Nope, me neither however, John Macfarlane ARPS does and without compromise. It’s a fascinating read John brings us, with stunning images too, and it really opens our eyes to what ‘Scapes’ lay beneath watery surfaces. Ann Healey LRPS shows us her successful ‘L’ panel and images which reflect the really high standard of work required in gaining an RPS distinction. Kath Jobson LRPS has put an article together which outlines the route many of us take in achieving great images. An easy approach with an open eye and not just looking for images but seeing and capturing them. April’s challenge, ‘Best of British’, taxed the minds of those who submitted images and was a real challenge for our assessor Graeme Clarke ARPS. Graeme’s comments together with the images and of course the winners, are all featured. The winner’s photography book (yes book) will be winging its way in due course. Finally, and as I have mentioned time and again, ZOOM events are for many of us, a means of keeping in touch with our hobby and as much as we’re keen to get back to outside meetings, ZOOM in my opinion will be here to stay. With that in mind, the region held its first Advisory Day and yes you guessed it, by way of ZOOM. Stewart Wall ARPS was in the hot seat advising five candidates on what to look for when working towards a Licentiate distinction both aesthetically and technically. As one onlooker later messaged me, it was like a 1-2-1 meeting, such is the way in which Stewart delivered the event. Onward and upward I say!
Well, that’s about it so until the next time…
Best wishes, John
Michael Curry LRPS shares his interest in photography: I have had an interest in photography since my early teens, together with a fascination for astronomy, map making, navigation and surveying. All have one common thread - optical instruments. To this day I am as much interested in the optics associated with cameras as I am with the taking of images. The electronic part of digital cameras, although of significance, does not hold the same fascination so I continue to have an interest in analogue photography. My surveying pastime led me to follow a career in civil engineering and the bulk of my photography over this time was concerned with recording work activities and completed schemes, hence my continued pursuit of architectural photography alongside landscapes. I took up digital photography some 20 years ago and after a period of reading, research and experimentation decided to learn a bit more by attending further education courses on photography and Photoshop. One of these courses concerned the production of a portfolio to aim for an RPS distinction. I joined the RPS in 2014 and achieved the Licentiate distinction in 2019. Prior to submitting my Licentiate panel I attended two advisory days organised by the Northern Region and found these invaluable in helping me to gain a distinction.
Backward Glance
Bridge
Having retired in 2017 I now have more time to devote to hobbies and interests. These include printing my own images, using an A2 inkjet printer, and developing monochrome film. I still have two 35mm SLR’s and a medium format camera. I scan negatives and print digitally. My next step is to attempt to achieve an Associate distinction. I have a couple of ideas for subjects and now that things are easing off with regard to lockdown, I am looking forward to getting out with a camera again. I also spend time volunteering with the Stockton Globe restoration project. This has involved recording the various stages, as it progressed from being an almost derelict Grade II listed structure to a now complete, restored theatre. Another absorbing aspect of volunteering has been the research into both the Globe’s past, and also other entertainment venues in the area. Sorting through the many photographs of artists who appeared on the Globe from the 1920s up to its final closure as a bingo hall in the 1990s has been particularly fascinating. I enjoy travel, combining this with my photography, and I am looking forward to being able to resume as restrictions are starting to lift. A big disappointment in 2020 was the cancellation of a trip to Peru, including a visit to Machu Picchu, but hopefully I will get the chance to cross this off my wish list in the not too distant future.
Lakeside Tree
ICM Trees
Long Climb
Taj Mahal
John McFarlane reveals some of the secrets of SUBSCAPE PHOTOGRAPHY Exploring the hidden underwater landscape of the Lake District “When you enter water, something like a metamorphosis happens. Leaving behind the land, you go through the looking-glass surface and enter a new world." (Waterlog. Roger Deakin, 1999 Random House). Introduction The Lake District, like other mountainous areas in Britain, has been shaped by water over millennia, resulting in the dramatic and much-loved landscapes of fells, valleys, and lakes. However, much of the mountain ‘landscape' is hidden below the surface of becks, pools, and waterfalls -the ‘subscape’. Whereas the rocks and flora we see have been affected by wind, rain, ice and storm, the under-rocks are sculptured by the shifting of stone, the grind of gravel and the rub of flow and flood. For a landscape photograph, the sky is often the crucial element in the composition. For a subscape image, the sky is replaced by the water’s undersurface, which filters and refracts light, form and colour from above, and also acts as a mirror for the rocks and patterns below. Both these effects are made infinitely variable by constant movement of the water surface. This contrast between landscape above and subscape below can be illustrated in split ‘under and above’ images. Fully underwater images reveal a hidden ‘mirrorworld’. For the last three years I have been swimming and dipping in mountain becks in the Lake District and Scotland, capturing images of this fascinating underworld with my cameras.
01 Split image -Deepdale beck.
02 Split image. -Pool below Buckstone Jump
Planning the images
I research wild swimming social media sites for interesting waters, and study OS maps, spying out waterfalls and pools on steep ground. Getting there after a good walk in with my camera rucksack, I consider the potential of the whole scene. Just because part of the image is taken underwater does not guarantee interest. There is nothing attractive about murky water or a silty lake bottom. Clear water is normally found higher up mountain streams, with less soil wash-in, weed and algal growth. I look for interesting rock shapes underwater, which contrast with those above. (Images 1-4).
03 Split image of waterfall and pool. Contrasting under-rock and above surface rock structures
04 Split image of outflow from deep walled pool - Langstrath
05 JCB. Boulder in underwater gully with undersurface reflections
Underwater gullies and boulders (even JCBs – Joe Cornish Boulders!) add interest, perspective and sometimes fascinating undersurface reflections (Images 5, 6).
06 Underwater view of waterfall, undersurface reflections and under-rock sculpturing in mountain pool
07 Big-nose boulder, Gasgale Gill. Waterfall underflow and unusual under-rock patterns shown in split image
08 Underwater rock formations with surface foam and bubbles forming a starry sky effect.
Waterfalls produce interesting patterns as they enter a pool (Images 6, 7). It is extraordinary how far the stream of air bubbles can carry underwater (Image 7). Air bubbles and surface foam, if backlight with sunlight, can produce a starry sky-like effect (Image 8). A bright but slightly overcast day works well. With direct sunlight, the subscape is always darker than above, often resulting in burn-out in the upper (overwater) part of a split image. Bracketing can help, but the image may require different post-processing for the above and below water sections.
09 Sculptured under-rocks highlighted by crepuscular sun rays shafting down from the surface
However, sunlight can produce crepuscular rays (Image 9) and fascinating patterns (‘caustics’) on under-rocks, especially when reflected back by the water’s under surface (Image 10). Caustics (from the Greek term ‘burn’) is the rather unattractive word for the bright web-like patterns which glitter and dance on the underwater rocks when sunlight shines through the constantly changing ripples above. The poet, Gerard Manley Hopkins, introduced the terms shive lights and shadowtackle for the shadow patterns under trees in bright skies. Perhaps these ripple caustics could, more attractively, be called, sunshives or dazzletackle?!
10 Sun patterns - Caustics on river bed with undersurface reflections
Placing the camera underwater, but inside the outer lip as a waterfall goes over the edge, can produce some attractive abstract effects from the infinitely variable colours and shapes outside, modified by refraction and flow – a novel variant on ICM? (Images 11, 12).
11 Underwater abstract patterns as water funnels over lip of waterfall .j
12 Sun caustics and visual illusion of a hole. Split image at waterfall lip looking down to Buttermere valley
13 Swimming below an underwater ledge in deep mountain pool.
Including people in your image (with their permission) can be fun particularly if they are jumping in or swimming. Image 13 is of my granddaughter, Iona, swimming in a deep mountain pool.
14 Bubble wrap. Gill scrambler jumping into deep mountain pool. Surface and crepuscular rays top right .
I was astonished to see how many bubbles surrounded this gill scrambler who jumped in from a cliff for me (Image 14) - a new form of ‘bubble wrap’?! Gear I started with a GoPro 4, but I have since upgraded to a GoPro 6 and now GoPro 9. Both offer good video, and still image RAW capture (as GPR), albeit with limitations. I adapted a Canon underwater housing for my Canon G7X2 camera, which works well. Recently I have been using a rather cumbersome Ewa-Marine glass-fronted, soft housing for my Canon 5D4 - not without some anxiety! A dome housing is a great benefit, although the acrylic ones for GoPro scratch very easily. I have not been able to find ones for my Canon cameras at a sensible price. Keeping the glass of the housing free of droplets is a constant battle when taking split images, particularly near waterfalls or when swimming and photographing in fast or turbulent water. So, remember the phrase ‘spit for split’. In addition to saliva, shampoo or potato juice rubbed on the outer glass reduces beading. Carrying and using a dry rag when swimming is a challenge. I usually end up draping it on the top of my head! Sometimes if you submerge the camera fully and then, as you bring it up so the lens port is half in and half out, you can quickly take the image. Hopefully a uniform water film remains over the glass for a few seconds and allows a clear shot, before beading occurs.
Safety Attention to safety is essential when undertaking wild swimming, so a companion is a good idea. Banks, vegetation and rocks both over and under surface can be very slippery and uncomfortable so appropriate footwear is essential. I have had a good few unplanned dunkings, and ruined one good camera. Neoprene wet shirts or a full wet suit will ward off cold, although I find them difficult to put on and take off, causing considerable amusement to any onlookers - a Mr Bean moment! Remember the hot chocolate and flapjack for afterwards!
Conclusion Subscape photography is fun and adds an extra interest to exploring the hills and mountains and their water features. So, pack some kit, swimming togs and a hot drink when you next go out walking for the day. But most importantly plan ahead, stay safe and be sensible.
Brief biography John is an award-winning amateur photographer who lives with his wife Rosamund, another passionate photographer, in Loweswater, one of the smallest and least frequented parts of the Lake District. They moved there in winter 2008, after John retired as physician and Professor of Respiratory Medicine at Nottingham. Since then, both have continued their passion for photography, mountain walking, wildlife and travel.
Dr John Macfarlane ARPS, DPAGB, AFIAP, EPSA Watergate Barn, Loweswater. Cumbria CA13 0RU England jtmacfarlane@gmail.com p: 01900 85289
@johntmacfarlane (Instagram)
m: 07711016276
Anne Healey tells us about her recent LRPS Journey: I have been taking photos for a few years and hadn’t thought about attempting an LRPS. However, in the summer of 2019 several members of my camera club had encouraged me to work for this. I had enjoyed entering club competitions with some success and that summer I felt I needed a project to move my photography on. I joined the RPS and looked through my photos taken up to that time. My concern was that my photography was random, in that I took photos of anything and everything that interested me. I didn’t have a particular genre. However, I was assured that this was an asset when attempting an LRPS, and so I begun to assemble what I hoped would be a cohesive panel.
It was useful to consider images that had been entered in Club competitions. Successful ones helped with my final choice. With less successful ones, I took on board the feedback from the judges, and either reviewed my choice or made further edits. Having input from other photographers, particularly those who have already achieved an LRPS and ARPS, was invaluable. In November 2019 (pre-Covid), I attended an Advisory Day in the Northern Region which was particularly enlightening, not only to have my prints and hanging plan reviewed, but also to see the work of others attempting both the LRPS and ARPS. Back home I reviewed my choices, made changes, and booked my Assessment date for 2 April 2020. Here, the impact of the global pandemic impacted my efforts and the RPS was now not assessing prints! As I was keen to have my images assessed as prints (having purchased a new printer and spent time learning about printing techniques and different photo papers), I chose to wait until the RPS were able once again to accommodate print assessments. My prints were therefore assessed in mid September 2020 and I was delighted to receive the email to confirm that I had achieved the required standard.
It was at that point that I asked myself what I had gained from the process. I learned to be more self critical of my photography, but also learned to appreciate myself and my images I learned to spend time over taking the image, deciding what I wanted to shoot, and choosing the location, equipment, setting, and the position. Editing my images became much more than just cropping and adjusting for exposure. I would check for composition, balance, story, and then details like sensor spots, and “border control”. I now leave my shots for a few days to “settle” before I return with fresh eyes to have a final over view.
What next? Given the amount of time taken to have this panel assessed, I have already begun assembling images for my ARPS My thoughts when putting together my panel:
1 Wastwater Boathouse I was concerned about putting this image into the panel as this was another boathouse. However, it was unlike the other Devoke House. It was taken much closer, with the boathouse much larger in the frame. There was no sky, there were reflections, and colours were greener.
2 Beach Cafe This is the cafe at St Bees Beach, where we had taken refuge from a winter storm. Big camera was safely back in my bag, and I saw the possibility of this. I felt it looked like a Van Gogh painting with the simple table and view from the window, and the painted blue chair just finished it off. It told a story. To emphasize the painterly feel, I gave it a textured layer created from photographing a paper bag!
4 Summer hedgerow
In early summer last year, I was pushing the boundaries in learning how to manipulate layers in Photoshop, so here are four layers of different hedgerow flowers. Some masking and playing with opacity was carried out to achieve a pretty image .
3 Strawberry and Sugar I’ve always liked this one and thought I was really clever getting the long exposure on the caster sugar. The set up took quite a while on the dining room table and I had a helpful assistant to pour the sugar through a small hole in a foil cake container. There were over 40 shots that day, too much sugar, not enough sugar, the strawberry fell off, the assistant got fed up, I got there in the end.
5 Boathouse at Devoke Water I’d never been to Devoke Water before. The colours of the ferns were autumnal, the sky was bright with lovely soft clouds and I spent some time wandering around looking for a good composition. I liked the isolation of the boathouse.
6 Girl in a Hoodie This was my first shot in a studio, and as I became more comfortable with the situation, I was able to ask for the lighting to be reduced to only one side, as I felt this better suited her expression. My first image was in colour, as she had stunning red hair and was wearing a red hoodie, but as the colours clashed, mono worked better.
7 Autumn River This was taken close to home along the River Calder. The sun was bright and turned the leaves to gold, and the wind was fluttering the leaves too. As the colours were the feature here, I tried Intentional Camera Movement (ICM). I was pleased with the result when combined with other layers of the water in the river, and the fallen darker leaves.
8 City Screwline I’m sure many members have seen this image, which like the strawberry was created on the dining room table, with a helpful assistant on a wet miserable Sunday afternoon. I had an idea about this, having seen similar images. Having visited this city several times, I wanted to create a close representation of Toronto. So despite, after three hours, using a black sheet of Perspex for reflection, several seismic catastrophes, and some marital disharmony, it was finished and photographed. I made a visit to Photoshop to edit the mirror image and intensify the black background.
9 Leafy Blues This was created in a couple of minutes using red Acer leaves arranged on a light pad. It was layered with a textured background of tree bark in Photoshop, and the blend mode changed.
10 Edinburgh Vennel This was taken in Edinburgh in January of this year. I wanted to take some night time shots on the back alleys, and prayed for wet pavements for maximum effect. It goes dark at around 5pm in January, so plenty of time for shots like this. A visit to the Amber Rooms for whisky and dinner while it rained outside but the rain had stopped when we came out. Excellent.
Kathleen Jobson tells us a little bit about her photography: I began photography at the advent of digital cameras. Having never picked up a camera before I found them much less daunting than a traditional SLR and liked the fact you could immediately see the results and delete if necessary (which was more often than not at first) instead of waiting for a film to be developed. I think I’d call myself an eclectic photographer, never going out with an idea of what I’d like to capture but recording what I see at the time: documentary, texture, graphics, or landscape. I’m happy to tag along with friends who have a goal in mind but do my own photography along the way. I hate using a tripod (it’s like wrestling an octopus), so if you see me with one take a photo for posterity. .
Blue and Gold Many of my images feature unusual perspectives or carefully cropped features which leads the viewer to question why. These features are shown in the intimate landscape “Blue and Gold’ which features abstract pattern and contrasting colours.
Snowed Under It’s worth visiting a favourite spot time and time again during the year to capture the changing seasons. The image ‘Snowed Under’ with the stark but delicate nature of the twigs against the snow and ‘Golden Glow’ with it’s warm yellow grasses and contrasting blues of the sky and water illustrate this as they were both taken at the same pond just a short walk from home but although they were both taken in winter give an entirely different feel.
Golden Glow
Entrance
I Love Art
My images of old industrial Middlesbrough and some of the terraced streets under demolition (Entrance) show the layers of history in the crumbling plaster and brickwork and patched up woodwork. The tattered poster on the exposed external wall of a partially demolished terrace, combined with the red rectangle and the plaster above the dado giving the impression of a gallery in ‘I love Art’. Perhaps my fascination with this subject is due to my interest in local history and knowledge of the town I live and grew up in.
The rectilinear shapes of ‘I Love Art’ are echoed in the graphic shapes in ‘Yellow’. The vertical black and white stripes with contrasting yellow steps together with the texture of the grey stone cladding drew me to this image.
Yellow
‘Plan of Portaloo’ taken in John Ryland Library Manchester is another graphic
image, three men bringing to mind a modern day meeting of a planning committee, it’s obviously not a big job as there are only three men.
Plan of Portallo
RPS Northern Region – April Challenge 2021
Best of British
The brief given was, “Although the title suggests restrictions to our land, the brief is totally open to how you see it”. John asked if I could introduce my comments by describing how I set about judging the images as this is a very open brief! I have taken strong account of how the pictures affected me – some make me recall memories both distant and recent; some stimulate shared interests and passions; some illustrate familiar settings, occasions and events perhaps with a story to tell; some evoke particular feelings whilst others stir quite strong emotions. Some pictures have an instant impact but others bear an extensive look and take time for their content to be fully appreciated. I’ve looked for simplicity, originality and, where appropriate, careful composition.
I’ve factored camera-craft and processing into the presentation of images, …and finally, I’ve looked for how all these relate to each photographer’s interpretation of the brief. Graeme Clarke ARPS
1st Battles Fought
Kathleen Jobson LRPS
Always poignant! It’s the significance of the rank of soldiers and their medals worn which is so moving and heart-rending. The Union flag represents service to the United Kingdom and, worn on this uniform, the best of Britain. Here, in the context of a military parade, the photographer communicates a clear message. It is cleverly presented in a subdued yet most effective way. Certo Cito, swift and sure, the motto of the Signals Corps comes to mind! On the soldier to the right especially, and his colleagues to the left, adept control of luminance in the image is very well exploited so the groups of medals, representing action and meritorious service to keep the peace, stand out. For the emotion this illustration evokes, its interpretation of the theme, and the skills demonstrated in taking, processing and presenting it, it is indeed a worthy winner.
2nd The Bird in the Bay Carmen Norman ARPS
This is very much a picture that grows on me! Why? First, it’s the tranquility of the scene, so typical of the Lake District or Scotland, which is impressively captured and rendered. Secondly, the calm water in the winter morning light reveals warm tones which really do evoke a sense of peace and an aura of contentment. Thirdly, in this carefully composed and skillfully photographed image, the lines of the fence with the reflections in the water bring our attention to the gull on the far post. Additionally the tree covered islet and the mass of the distant hills balance each other to complete the vista. In second place – take another look, close your eyes and see it in your mind, then just listen - can you hear the Sound of Silence?
3rd The Umbrella Rosamund MacFarlane ARPS
The Red Squirrel is indeed a native species that we cherish. It is heartening to see pictures of red squirrels thriving – with the protection they’re afforded long may it continue! Here, the animal is beautifully photographed to show both its environment and behaviour. It’s fascinating that they have to feed frequently to keep warm, whatever the weather, as it seeks hazel nuts amongst the spring mosses whilst tolerating water droplets on its fur and whiskers. There’s no doubting its priority – food! Showing camera-craft of the highest order, the photographer has captured it superbly in fine detail with great control of exposure and depth of field. Well deserving of third place.
Highly Commended Showing the Red Card Lyn Newton LRPS
This is fascinating documentary photography which resonates with me. I’m from Northumberland where my maternal grandparents came from mining families. Later I worked for 40 years in Durham, a county which has an extensive mining heritage. Miners’ Galas have taken place throughout Britain. Some are very long established and are still held - like this one in Durham. It’s an institution that attracts a large following so even though the picture is crowded and busy we get such a strong sense of the vibrancy, vitality and enthusiasm fostered by the event. Isn’t it great the way the banner holder supports the pole in his pocket! Crucial to the occasion, the photographer has caught a range of expressions shown by the main figures. Are they calling out? Or perhaps they’re singing The Red Flag! The image documents a most vivid piece of local social history and deserves commendation.
Highly Commended The Judge Edward Forster ARPS
Agricultural shows are very much part of rural life and here we have a timeless scene of a village show. I wonder if that’s why it’s presented in monochrome or perhaps it’s to avoid distractions from patches of bright colour? Aside from the judge pondering on his decision, how interesting to look at the different conversations taking place. We know these events give farming folk a chance to meet up and talk with each other in an otherwise quite lonely life.
Sharp but just a little heavy so shadow detail , especially of the three people in front, is a tad dark. Commended for illustrating a fascinating aspect of rural British life.
Highly Commended At the Beach Hut Carmel Morris ARPS AFIAP
Although beach huts aren’t uniquely British there are so many at our seaside towns. They became a way of life for many ordinary folk that had its heyday in the 1950s. Visits to many east and south coast resorts show that not much has changed since then. Except perhaps their cost. I understand one in Dorset changed hands for a quarter of a million recently! This couple look like they spend a lot of time sitting at their hut watching the world go by! It is amusing how they interact with us – is that an air of tolerance, detachment, forbearance? But the dogs aren’t interested in us at all – there must be food always on the go! Does it matter that there are all manner of items intruding into the image – not at all. Worthy of commendation because this documentary picture gives us real insight into a typical British lifestyle clearly enjoyed by the couple at the seaside.
Mike O'Brien
Bringing the Chippy Home
Ken Bladen
Scott Beveridge
A Lot Meant
Saltburn Pier
Irene Berry LRPS
Mike Berry ARPS
Surf, no Turf
Hook a Bag
John Macfarlane ARPS
Geoffrey Bradford ARPS
Northern Hay Meadow in Spring
‘This Sceptred Isle'
Ade Gidney FRPS
David Gray LRPS
Herdwick
Not the Alps but Keswick, GB
John Dilworth
Bollocks-to-Brexit
Lynda Golightly LRPS
Walking the Dog
Maggie Jary ARPS
Andrew Miller
Celebrating VE Day
Santa and Chauffeur at Beamish Museum
Gordon Smith
Rhythm Nation
Peter Dixon ARPS
Why
Jeremy Griffiths LRPS
Waiting for Duty
Brian Swales LRPS
British Museum
Sarah Hillier LRPS
Francis Annett
A windy day on Saltburn Pier
Tangental Tyne
Keith Snell LRPS
Frozen Lakeland-style