CREATIVE EYE No.73 May 2017
The magazine of the Royal Photographic Society’s Creative Group
Worshipping the Light, Sagrada Familia by Gillian Beckett ARPS
EDITORIAL
This issue features Neil Scott’s FRPS and Steve Varman’s LRPS Print Panels. We invite more members who have been successful with their distinctions application to show their work in the Creative Eye. I hope volunteers will continue to offer their work. Email me - Ed Of course the hard copy of May issue of the ”Eye” always features images from both the Print and PDI Exhibitions and all the acceptances were shown, amounting to around a hundred & fifty of the best of the group members’ photographs. All the accepted images are shown on our website. On the 8th October we are privileged to have a lecture by Tony and Eva Worobiec and on pages 10 and 11 the details of the day are shown, together with some pictures by Tony and Eva. A stalwart of the Creative Eye articles is Dave Jordan FRPS who is venturing into new territory of Pin-hole photography. On page 13 Dave outlines his progress in this art form so far. On page 9 is an Obituary for John Currant ARPS, who was a CG Committee member. John died just before the 2017 AGM, but his Print Entry had been received and two of his photographs were accepted for the Exhibition. He will be missed. The printing of the Creative Eye; the quantity continues to increase and this is mainly due to the continuous increasing of our membership which currently stands at 487. What is our Group’s appeal? We must be doing something right? The next issue of Creative Eye will be posted towards the end of September 2017 and copy closes 3rd September. If you would like to submit an article and/or pictures, please get in touch with me ASAP. Barry Freeman ARPS DPAGB APAGB Tel - 01379 668749 Email - creative.editor@rps.org
From the Chairman
Given the recent uncertainty surrounding the future of the Crea�ve Group, I wanted to provide an early update and reassurance that the Group has a bright future. First of all, I wanted to let you know that at the well-a�ended Annual General Mee�ng, held in Whi�lesford on 26th February 2017, I was elected Chair of the Group. In addi�on, a full commi�ee was also elected. I am grateful to former commi�ee members, who agreed to con�nue in various roles and to the new members who have joined me on this new venture. A�er the AGM there were a few loose ends regarding the alloca�on of some du�es, which would be resolved at a Commi�ee mee�ng later. This means that the Group is in good hands and has an experienced team at the helm. Previous Commi�ee members, Alan Turner, and Joan and Dave Jordan have been warmly thanked for their immense contribu�on to the Group in the past and, in Joan and Dave’s case, they will be con�nuing to bring their experience to bear for some �me to come, so as to ensure that the Group processes con�nue smoothly. A list of the new Commi�ee members and their roles is given at the end of this ar�cle. Secondly, I wish to thank all Group members who entered the selec�on processes for Prints and PDI’s for the Annual Exhibi�on. We have an excellent exhibi�on for 2017, containing some outstanding images, most of which you will be able to see in this issue of ‘Crea�ve Eye’. My special thanks go to Moira and the others in the Exhibi�on team who are working hard to ensure that the Group’s crea�ve output is seen to best advantage at a number of venues across the UK I hope you will be able to get along to one of the venues to lend your support, and please bring the Exhibi�on to the a�en�on of your friends and camera club members. See also h�p://www.rps.org/Home/ Special%20Interest%20Groups/Crea�ve The Commi�ee is reviewing the programme for the next year and further ahead. It is very likely that there will be more events next year, with a wider range of loca�ons, and hopefully also serving other parts of the UK than has been possible un�l now. Obviously, details will be available on the website and in ‘Crea�ve Eye’ as the informa�on becomes available. For the moment, I hope you will support the upcoming events which is: Joint Mee�ng with RPS East Anglia, Foxton, 8th October 2017. We have two excellent speakers, Tony and Eva Worobiec, and we look forward to a s�mula�ng and busy day. I hope you will be able to be there, Details will be in ‘Crea�ve eye. As well as on the Group’s web page at RPS. Finally, thank you very sincerely for your con�nued support of the Group, it is very much appreciated. We shall do our best to serve you, as a Member. If you have any concerns, or sugges�ons for improvements in the way that the Group operates, or sugges�ons for new direc�ons, then please do not hesitate to email me at crea�ve.chair@rps.org or phone 07747 866617, to speak to me.
Mike Cowling ARPS - Crea�ve Group Chair
The RPS Crea�ve Group Commi�ee for 2017 Chairman Mike Cowling ARPS Treasurer & Webmaster Barry Collin LRPS CPAGB APAGB Vice-Chairman & Newsle�er Editor Barry Freeman ARPS DPAGB APAGB General Secretary Annie Ringland LRPS CPAGB Exhibi�ons and Publicity Moira Ellice ARPS
Membership Secretary Bill Coles LRPS Digital Exhibi�ons Ma�hew Clarke BPE3* Events Organiser David Ryland ARPS Commi�ee Member Nigel Rea ARPS (See the group photograph on page 11)
WEBMASTER’S NOTES Commi�ee Contacts:
Mike Cowling, Chairman Barry Collin, Treasurer and Webmaster Annie Ringland, Secretary Barry Freeman, Newsle�er Editor Moira Ellice, Exhibi�ons & Publicity Bill Coles, Membership Secretary David Ryland, Events Organiser
crea�ve.chair@rps.org crea�ve.web@rps.org crea�ve.secretary@rps.org crea�ve.editor@rps.org crea�ve.exhibi�ons@rps.org crea�ve.membershipsecretary@rps.org crea�ve.eventorganiser@rps.org
How to publish your own gallery on the RPS website Place your images into a folder each image no larger than 800 pixels either width or height. If you already have an RPS login ID and password, go to step no. 2 1. To obtain an RPS ID and password, go to h�p://www.rps.org and click LOGIN then RPS MEMBERS REGISTER. There enter your membership number, your email address and choose a user name. Once submi�ed, you will receive a verifica�on email to the supplied email address enabling you to login. 2. Go to www.rps.org and choose LOGIN. Log-in with your email address and password. 3. A�er login, go to MY RPS, click ‘My Por�olio’ and select ‘Add an Album’. Add a concise �tle for the album and a descrip�on. Make your choice under ‘Privacy’ who may view it. 4. Tick your Region and Group and press ‘Add Images’. 5. Find the folder on your computer/tablet and choose all the images you wish to submit. 6. Press ‘Submit’. You may add more images and add more details for each one if you wish. 7. Finally Press ‘Submit’. How to book on-line for our 8th October 2107 event You must have an RPS login and password (See items 1 & 2 above) Go to www.rps.org and click on ‘Events’. Under FILTER, choose date 8 October 2017 and click the spyglass Choose our Joint Event, click, and then click ‘Book online’ and follow instruc�on View both our 2017 Print and Projected Image Exhibi�ons as large images or as slideshows Go to www.rps.org and click on Groups, then click on Crea�ve. Click ‘Read more’ to enter our website. Choose either ‘Print Exhibi�on’ or ‘Projected Image Exhibi�on’ and choose the link ‘View All’ at the top. Click on individual images to enlarge, or watch the slideshow.
Barry Collin LRPS CPAGB APAGB
RPS CG AGM AND EXHIBITION SELECTION MEETING On Sunday 26 February the Crea�ve Group had it’s AGM and Exhibi�ons selec�on mee�ng at Whi�lesford Memorial Hall, near Cambridge; the mee�ng was well a�ended. The AGM ran smoothly and a new chairman and two new commi�ee members were elected, these being Mike Cowling, Nigel Rea and I, David Ryland. David and Joan Jordan stepped down from the commi�ee. Again this year, we decided to use the services of an outside selector instead of having a panel of selectors chosen from members at the mee�ng. As a result, the print and pdi exhibi�ons were selected by Ann Miles FRPS. The selec�on process ran very smoothly and Ann selected two interes�ng and varied exhibi�ons demonstra�ng the range and quality of our members’ work. We would like to thank Ann for the giving of her �me and for taking on this challenging task. All of the selected images are displayed in this copy of the Crea�ve Eye and they will also be displayed in a variety of loca�ons around the UK. Members who entered the exhibi�on should receive a presenta�on of both exhibi�ons on a CD which will be included with this magazine. Both can also be viewed on the RPS website in the Crea�ve Group sec�on. th
David Ryland ARPS
Crea�ve Group Event Organiser crea�ve.eventorganiser@rps.org
Members’ Annual Exhibi�on
By the �me you read this ar�cle, the Annual Exhibi�on’s tour will be under way. This year’s exhibi�on was selected by Ann Miles FRPS, who chose an inspira�onal collec�on of images. The tour began with a successful exhibi�on at Wingfield Barns in Suffolk, a�rac�ng well over 200 visitors. Hughes - The Electrical Retailer, for the third year running, kindly loaned the Group a large TV to show the Projected Image Exhibi�on slideshow. In addi�on to the Annual Exhibi�on of Prints and Projected Images, which was on display in Wingfield Barn’s main gallery, Barry Freeman ARPS, who is a member of the Group, had a Retrospec�ve Exhibi�on of over 70 prints in Gallery 4. A selec�on of outstanding Dis�nc�on panels by members of the Group were on display in Gallery 1, which included Steve Varman’s Licen�ate panel, Mike Cowling, David Ryland and Neil Wi�mann’s Associate panels and Neil Sco�’s Fellowship panel. The Annual Exhibi�on will be on show at the Smethwick Photographic Society’s Headquarters in the West Midlands for two weeks during the summer (dates not known at this stage) and at the Edinburgh Photographic Society’s Headquarters in Great King Street in November. A selec�on of 30 prints, one by each member of the Group who entered this year’s Print Exhibi�on will be on display at the RPS Headquarters, Fenton House in Bath, from Friday 1st December to mid January 2018. I hope to show the full exhibi�on as a slideshow in the main recep�on area to accompany the prints on display. Thank you for entering this year’s exhibi�on and congratula�ons to those who won medals. Many thanks go to the members who kindly loaned their Dis�nc�on panels for the exhibi�on and a big thank you goes to Nigel and Anne Rea, David and Joan Jordan and to Ma�hew Clarke, who helped set up the exhibi�on. Special thanks to Wingfield Barn’s volunteers and to members of the Group who helped steward the exhibi�on and entertain the visitors.
Moira Ellice ARPS - Exhibi�on Secretary crea�ve.exhibi�ons@rps.org
NOTE: All members who entered the 2017 Crea�ve Group Exhibi�on will receive a CD, which includes all the accepted images. It contains slide shows for both PC and MAC, plus MP4 files for showing on a modern TV. THE CD WAS INSERTED INTO THE CREATIVE EYE 73
RPS CREATIVE GROUP EXHIBITION IMAGES
All the selected prints were hung at Wingfield Barns are shown on the RPS Crea�ve Group Website, together the chosen PDIs. The exhibi�on was selected by Ann Miles FRPS MPAGB FBPE EFIAP who awarded RPS Medals to the following members.
Print Exhibi�on:
Gold Medal: DIY Disaster by Gillian Becke� ARPS Silver Medal: MSC Fabiola, Felixstowe Docks by Ma�hew Clarke Bronze Medal: Dehydra�on by Neil Sco� FRPS
Projected Image Exhibi�on:
Gold Medal: Turneresque by Colin Pricke� LRPS Silver Medal: White Heron by Margaret Rainey ARPS Bronze Medal: Irina’s Swirl by William Campbell ARPS Note, Both Exhibi�ons are on our Website as slide shows
The views on previous and this page are showing the RPS Crea�ve Group Exhibi�on Venue at Wingfield Barns. Just above is me stewarding - ED
The Crea�ve Group encourages the photographer to think and see that bit differently and consequently ending up with a more unusual, interes�ng or thought provoking interpreta�on. It is the personal input of the photographer which leads to the image being seen as “crea�ve”.
Neil Scott FRPS
Open door
Plane
Chisel
Brace and Spanners
Nine shelves
Wellies
Hose
Gloves
Handles
Red drill
Brass tacks
String balls
Shallots
Daffs
Cardboard
Strimmer
Wheel
Pots
Edger
Padlock
The panel layout for Neil Sco�’s successful FRPS submission
Neil Scott FRPS Statement in support of Fellowship submission to the RPS This panel is based on light and shade, textures and structures in an old garden shed. So� light falls on dark, secluded corners and shelves, picking out forgo�en or discarded elements of the materials of the gardener. In doing so, it reveals textures and shapes in tools and implements, boxes and tubs – and it interacts beau�fully with these otherwise mundane contents of the shed. The objects themselves are not visually important. It is the interac�on between the gentle light, the delicate shadows and the shapes and textures that conveys a sense of mystery and beauty.
Comments from the Fellowship Board This outstanding and personal study of the inside of a garden shed belies the immense photographic skill that has gone into producing the images used to complete this body of work. Through the photographer’s visual awareness the viewer is treated to a set of beau�ful cameos that combine together to form a dis�nc�ve and exci�ng body of work. The viewer should be under no illusion that producing these images demonstrated both a dis�nc�ve approach and a truly crea�ve ability.
The Crea�ve Group is now on Flickr, h�ps://www.flickr.com/groups/3510780@N20/pool/with/24495761070/ Dear member, If you wish to join, please click in the JOIN box which is in the header image at the end of the page name. Flickr will then send me a Flickr mail informing me that you wish to join. I respond as Administrator and give you access. As your personal Flickr page may have a dis�nct name, mine is ‘Monobod’, I may not know that you are a member, so please also send me an Email sta�ng your name, your Flickr name and RPS membership number. I can then cross reference this to the CG membership list before acceptance is given. As we have over 400 members and the process of authorising is manual, please be pa�ent. I will deal with the applica�ons as soon as possible. David Ryland ARPS. – Crea�ve Group Event Organiser. crea�ve.eventorganiser@rps.org h�p://www.flickr.com/photos/monobod/
Judges - a comment on Am I the only one who thinks that some judges may be recognising images that have been successful on the exhibi�on circuit and selec�ng those for the exhibi�on or compe��on that they happen to be judging at the �me? I most certainly would not accuse them of doing that consciously or deliberately, although I’m sure that may happen in a very small number of occasions. Do they recognise an image and select it because it has been successful and by so doing think they may be taking the path of least resistance? Alterna�vely, they may have been through Judges School and been schooled into selec�ng par�cular types and styles. I am sure that a number of judges may read this ar�cle, but nobody should think I am knocking judges. I have judged at a few club mee�ngs, and will con�nue to do so for the foreseeable future, so I do have some knowledge about the problems they experience. They have a very difficult job, do it all for expenses only, and quite frankly club compe��ons would simply cease to func�on without them, but I do wish they would be more individualis�c and judge/select according to their own taste and experience.
Ma� Clarke BPE3*
John Edward Currant 1941 – 2017
More than 100 people filed into Bedford Crematorium chapel on Friday 17 February to pay their last respects and hear tributes to John Currant, the late and much missed chairman of Shillington and District Camera Club. During the funeral service Civil Celebrant Robby Evans told mourners: “John had a wonderful sense of humour. He made a major contribu�on to amateur photography and will be sorely missed but not forgo�en.” Poignantly, two special floral tributes in the shape of a camera and a cricket bat, represen�ng two of his great loves in life, adorned the area near to his coffin. Mourners led by his wife Jose’, two daughters and four grandchildren, included members of SDCC, the East Anglian Federa�on of camera clubs and many other organisa�ons in which John was ac�ve or had an interest. The congrega�on heard that John, who died in January aged 75, had a life-long love of photography engendered by his father who was a photographic printer at the Luton News. He joined Vauxhall Motors in 1957, becoming a draughtsman and using his dark room skills. Later he was to become a computer systems manager and spent �me working in Detroit - not a happy �me. John joined SDCC in 1992 and during the years to 2017 held many senior commi�ee posts from treasurer to compe��on secretary and chairman, posts he s�ll held at the �me of his death. Together with his wife Jose’, John was credited with helping the club achieve a smooth transfer from Shillington to Barton Village Hall, now home of the club.
John was a long standing member of the EAF Execu�ve and due to become president of the EAF in 2018. A gi�ed photographer he was awarded an Associateship of the Royal Photographic Society in 2016. “John was a highly principled, hard-working member of SDCC, always ready to share his photographic skills,” said Robby. Jose’ spoke of the “special person John was” and that they had a “deep love and respect for each other.” SDCC member Valerie Ellio�, a close friend of John and Jose’, read a wonderful poem en�tled ‘The Dash’ which spoke of the years of life between birth and death. He le� the world a be�er place and the challenge now is to help fulfil his dreams. That will be his best memorial.” The service ended with the sound of Louis Armstrong singing, fi�ngly, ‘As Time Goes By’.
RPS Crea�ve Group Event Sunday 8th October 2017 A joint mee�ng with the RPS East Anglia Region
The mee�ng will take place at Foxton Village Hall, Hardman Road, Foxton, CB22 6RN
Eva & Tony Worobiec
Eva and Tony developed an interest in photography early in their teaching careers and soon joined The RPS; both were awarded a Fellowship not long a�erwards. While Tony excelled in black and white and Eva was drawn to colour, both had their successful panels published by The Journal. They consistently believe that their best work is s�mulated by pursuing personal projects, par�cularly since first travelling to America in 1994. They have had four joint books published; the most recent, ‘Abandoned On The Plains, Fragments Of An American Dream’ is a sequel to the highly successful ‘Ghosts In The Wilderness’ published by AAPPL in 2003. The beau�fully printed book earned glowing reviews from The Guardian newspaper, The Independent, The Washington Post and Stern magazine in Germany. ‘Abandoned on the Plains’ is the theme of Eva’s presenta�on, in which she wonderfully illustrates the strangely haun�ng beauty of the abandoned communi�es of the American High Plains. Dealing with the subject showing great sensi�vity, Eva explains the value of careful research prior to travelling. Although Eva and Tony have shared numerous exhibi�ons together, possibly the most pres�gious was when they were invited to show images from their ‘Icons of the Highway’ project at The Fox Talbot Museum, Lacock. This body of work was taken from another much praised publica�on of the same name, which celebrated the disappearing diners, cinemas and motels of small-town America. Both Eva and Tony have been invited to join the Arena group of photographers and they are also ac�ve members of the highly esteemed Landscape Collec�ve. In addi�on to the four publica�ons he has coauthored with Eva, Tony has had 12 further books published; his books are sold all over the world and have been translated into Dutch, German, Spanish, Taiwanese, Mandarin, Russian and, rather fi�ngly, Polish. His most recent, ‘Photographing Landscape Whatever The Weather’ is the subject of his presenta�on. This latest book encourages the reader to understand that weather, in conjunc�on with light, is the defining quality of any landscape. Ticket Costs are: RPS East Anglia or Crea�ve Group Member £5.00 RPS Member £10.00 Non RPS Member £15.00 You can book online , see page 3, or by cheque using the form inclosed with the Crea�ve Eye, or pay on the door. If you intend to pay on the door, please email the Treasurer to reserve a place - crea�ve.web@rpe.org
David Ryland ARPS
Crea�ve Group Event Organiser
crea�ve.eventorganiser@rps.org
View of lone elevator, Owanka, South Dakota by Eva
Abandoned homestead, West of Fort Morgan by Eva
Interior, Gurley, Nebraska by Eva
Mono Lake by Tony
Penarth Pier by Tony
West Bay, Dorset by Tony
The New Commi�ee of the RPS Crea�ve Group - March 2017. Even though we look happy it was a cold, dull a�ernoon - ED
STEVE VARMAN LRPS
LRPS Panel Layout In 2010 I bought a Canon 550D to sa�sfy an interest in videography. I took a few s�lls to test the camera and was amazed by the amount of detail it captured. I wasn’t aware how far digital cameras had progressed, and from that point on I was converted to photography. Ditching the kit lens, I bought a 50mm prime (Sigma) and 100mm macro (Canon EF) lens and set about devouring magazines, books and YouTube for all the �ps, informa�on and tutorials I could find. I then started a degree in photography with the Open College of the Arts. In 2012 I donated a photograph of a poppy to the Royal Bri�sh Legion, which has been used to promote the RBL remembrance concerts ever since. Also in 2012, I entered the Interna�onal Garden Photographer of the Year compe��on. I didn’t win, but I was lucky enough to have my photograph commended by the judges and included in the IGPOTY book of the same year. The photograph was of a harvestman spider and is included in my LRPS panel. I joined RPS in 2016 with the aim of developing my photography further and challenging myself to achieve an LRPS dis�nc�on. I was also pleased to find and join the Crea�ve group. In September 2016, I took my panel to an advisory day, which was invaluable not just for my feedback, but also listening to everyone else’s feedback too. This lead to a successful assessment day in November. My panel includes 4 macro images - perhaps my favourite genre - taken with my original and trusted 100mm macro lens. The milk drops in coffee is a composite of several takes. Two of the architectural shots, the Walt Disney Concert Hall and the Broad are literally next door to each other, and captured while on holiday in Los Angeles. I’m not sure if I have a style, but I do like a minimal composi�on, excluding as much of the periphery where possible, I hope this comes across in the images of fire hydrants (Los Angeles) and The Pinnacle (O2, Greenwich). Like most street photography, the shadow cast by the shop sign (Rome) was pure serendipity - which is why it’s true that you should always have your camera with you! I’ve photographed Brighton’s West Pier more than once. It’s in a constant state of decay and with ever changing light and weather condi�ons it’s an irresis�ble subject to return to that’s always rewarding. Website: www.stevevarman.co.uk
A PLEASING LACK OF DEFINITION
In the past, this was a phrase used by judges to describe a ‘so�’ gentle image. Unfortunately, this term seems to be rarely used in this age of sharp and over-sharpened images. A couple of years ago at a RPS Celebra�on of Dis�nc�ons, I had the pleasure of looking at a wonderful Fellowship Panel of large format pinhole prints of coastal scenes by Paul Mitchell FRPS. The images had an amazing ethereal and atmospheric quality to them; they inspired me to want to explore this effect. I was looking at a recent copy of Black + White Photography magazine and no�ced that Lee Frost was recommending having a camera body cap modified into a pinhole ‘lens’ by a firm called pinholesolu�ons. co.uk. This conversion was very reasonably priced at £35, so I decided to give it a go with a body cap from my Canon EOS M3. The body cap arrived back in a couple of days, so it was �me to start experimen�ng. The pinhole used is a photo etched hole with a diameter 0.2mm, it has an effec�ve aperture of f180 and an equivalent full frame focal length of about 50mm. The image quality is not the same as it would be on a larger format camera, but it is adequate and it is certainly easy to carry around and use. I would be interested to see results from a full frame camera. You can see the image reasonably well if you use live view. The �ny aperture has five main effects on crea�ng an image: 1. The exposure �mes can be very long, but using higher ISO se�ngs can give usable hand held shu�er speeds (the noise generated does not really affect the image quality here). 2. It has an enormous depth of field, just as well as there is no focusing ring! 3. Any dust on your sensor will be instantly visible, compared to what you will see on a normal lens (typically at f22). 4. The image contains detail, but the edges of lines are not sharply resolved. 5. Depending on the sensor in your camera, you will get varying degrees of darkening and colour shi�s at the edges of the frame. So, with these poten�al issues, what is it like to use? Well, it is in some respects rather libera�ng and at the same �me challenging. You must remember like any ‘effect’ lens it only works well under certain circumstances and it must be used with convic�on. It seems to work well with strong direct ligh�ng on bold graphic subjects with good texture, nothing is new in photography! Some of the best images that I have obtained so far have involved churches, cathedrals and other interiors. Some processing is required on these images, I would strongly recommend working in RAW, where the correc�on tools available in most image manipula�on so�ware work well and can produce very effec�ve images. So how could we use these images? I feel that printed to a moderately small size on a nice ma� ‘art’ paper, they have the poten�al to look really good. But being brave enough to submit one into a typical camera club compe��on, may well be another story, but we will see. Whatever else, it is a crea�ve and fun thing to use.
David Jordan FRPS.
Pinhole photo of Canterbury Cathedral Interior Pinhole photo of Abandoned Boat - Dungeness
DIY Disaster by Gillian Becket ARPS Gold Medal Print
Turneresque by Colin Picke� LRPS Gold Medal PDI