PHOTOi - Issue 17 (April 2005) by Scott Poh

PHOTO i

DEAS i NSPIRE i NNOVATION

Your FREE monthly inspiration into the world of Photography!

It s Free! A Hardware Zone Publication Issue 17 · April 2005 www.photoi.org/mag Cover photo by John Cosgrove

Theme for for this this month: month: Theme

The Anatomy of a Corporate Shoot We spend spend aa couple couple of of days days on on aa Corporate Corporate shoot shoot We with the the people people who who bring bring you you the the drive drive -- Seagate Seagate with

Safra Photographer Of the Year Wee Teck Teck Hian Hian wins wins this this years years competition competition Wee

Check if you are in our photo events coverage From page page 88 From

Log onto www.photoi.org/contest/cts to enter our Wet Wet Wet Photo Competition.

MICA (P) 033/10/2004, ISSN 1793-1606

Editor

s e t o N s r o t Edi Photo by: Ming

This is not a Mid-life Crisis from an oldish bloke

This year I will be 45, not old enough to be considered a senior citizen, nor young enough any more to be classified trendy or hip, but somewhere in the middle of my life if current scientific projections are to be believed. The experts say I belong to the group who are experiencing the greatest re-distribution of wealth in written history as our parents, the baby boomers from the post WW2 period are dying off and passing their financial wealth on. Strange none of it s coming my way but then that s the way the cookie crumbles sometimes I guess. As a group we have experienced it all, the sexual freedom of the sixties, the disco madness of the seventies, the fashion nightmares of the eighties, the economic highs and lows of the 90 s and now we are working hard in the growing economies of the new millennium. Today many of us are working in jobs that were unheard of when we sat down with the guidance counsellors back at school to plan our working futures. I could wax lyrically for pages about being there at the birth of IT and the internet, but instead I want to talk about this largely forgotten group of people the 40 to 50 year olds. In America and Europe the advertising gurus and merchandisers are rapidly re-planning their fall catalogues as they have come to realise that this group of people DO have the biggest discretionary wage and spending power. They can afford all the luxuries on offer in the Robb Report, they do buy expensive toys to play with and yet when it comes to recognising this group as being effective members of the community, many people prefer to ignore us as they believe we are already doing enough as it is. Large numbers of us have had to re-invent ourselves many times over as the traditional jobs our fathers did and in whose steps we have tried to follow, have been wiped out by the relentless onward march of technology. Myself, I have been made redundant three times and each time I ve had to find new income streams within photography to keep my family together. But as I get older I feel I am moving into an uncharted region of wanting to expand further

but finding roadblocks in the way. Recently an international photojournalist was caught bemoaning the fact that now anyone with a digital camera can shoot and sell a picture and he felt his craft was dying off. Well hey! Welcome to the real world mate photography is for the masses but what everyone else knows is that the camera is just the tool to record what you see. If you haven t trained your eye to see then don t expect to shoot great pictures like the masters. With that in mind it struck me that many competitions out there are targeted only at the youth. Organisers use words like Reaching out or finding the next generation of photographers or film makers to sell their contests to sponsors. But what about us, most kids (and I use the term loosely to describe anyone under the age of twenty five) often can t afford the good gear and don t possess the life skills to make much of it anyway. So where do the competition organisers expect this next generation to come from? Have they forgotten about the rapidly growing and very financial middle-aged bracket out there? It s a vast untapped and often under utilised resource that is full of people with stories to tell and experiences to pass on and get this - the time and energy to do it well! Jack Neo, a celebrated film maker, commenting at a short film judging last year, said that he was tired of reviewing teenage angst movies, about dark subjects such as suicide and peer group pressure, they just don t sell and are too arty for most commercial audiences. Where were all the good stories? Last month he again tried to make the media and Singaporeans in general wake up to the fact that the future of digital filmmaking lies in sourcing stories from the heartlands. He said the best stories in the future will come from the factories, the hawker centres and the homes of normal people living in the HDB s. And he is right too as often the powers that be get caught up with the pursuit of youth and forget that the only young people on stage getting Oscars are the child actors. The scriptwriters, directors and producers in most cases, are all

middle-aged or there-abouts. Middle-aged people have a very important part to play in the creative arts as we have learnt to cope with curve balls that life dishes out. In most cases our kids have grown up and moved on and many now have the time to teach and pass on those skills. We know the power of patience, manners, tact and civility and more importantly we know what is relevant. Look at the top shooters out there. In the fields of sport and movement there are many eager young shooters on the sidelines but there is also a large contingent of older shutterbugs still winning the competitions year in year out. Out in the fields where the macro and landscape shooters live, there are many who don t list their age anymore and yet they have built up an expert eye for the unusual and creative as they fill their awards cabinets. There are some really talented young photographers and filmmakers out there but all too often the youth of today want it all now, they want the awards, they want the accolades but they don t want to work for it. Okay this statement might annoy some PHOTOi readers out there but look around and see who used to be the high-flyer in your photo groups and has now moved onto other things citing the pressures of family and career as their excuse once they find out how hard it is out there. Often our ambitions in photography are put on hold by careers and family but just wait until you reach my age group and then you will find the time and resources to fulfil your dreams. And finally an appeal to competition organisers out there. What about opening up the categories to include those of all ages? We all have something to offer towards the advancement of Singapore. Many middleaged people I know would love the opportunity to put their ideas, stories and visions into reality. Tell me what you think; my email address is up there on the right. Keep on shooting Mr John, the PHOTOi man

EDITORIAL

editor@photoi.com.sg

Editor

John Cosgrove (john@photoi.com.sg)

Deputy Editor

Kath Cosgrove (kath@photoi.com.sg)

Contributions

Yian, Ming, Debbie Ng, Wee Keng Hor, Jeremy Alexander Choong,

CREATIVE

creative@photoi.com.sg

Art Director

Tan Li Yong

Designer

Cally Han

MEDIA

sales@photoi.com.sg

Media Director

Jereme Wong

Media Manager

Hazel Lee

Media Executives

Irene Tan, Chua Ying Kai, Kwan Chung Howe

Media Planner

Dana Lim

Events Manager

Germaine Lee

Events Assistant

Marilyn Khoo

CIRCULATION

marcom@photoi.com.sg

Circulation Director

Poh Swee Hong

Marketing Executive Jonathan Ho Circulation Assistant Wendy Lim

HARDWARE ZONE PTE LTD CEO/Publisher

Dr. Jackie Lee

Managing Director

Eugene Low

Product Manager

Joe Ang

Printed by: Fontcraft Printing(S) Pte Ltd

Cover photo by John Cosgrove courtesy of Seagate Singapore PHOTOi A Hardware Zone Magazine published monthly by Hardware Zone Pte Ltd 20, Ayer Rajah Crescent, #09-04/05/11/12 Singapore 139964 Tel: (65) 68722-725 Fax: (65) 68722-724 URL: www.hwzcorp.com MICA (P) 033/10/2004, ISSN 1793-1606 All content copyright © 2004 PHOTOi

Copyright © 2004, Hardware Zone Pte Ltd. All rights reserved. No part of this magazine shall be reproduced in any form without the written consent from the Publisher. Comments, opinions and views of individual contributors expressed in the magazine do not necessarily represent those of the Publisher. Under no circumstances whatsoever shall the magazine/publisher be liable for any direct, indirect, special, incidental or consequential damages that may arise out of or in connection with the use of the information made in the magazine. All views, opinions used in this publication are based on the prerogative and expertise of the writer(s) serving the respective market and readership of which the publication and products are marketed in.

Contents 16 Readers Galleria

Wee Keng Hor shares with us his baby photos.

19 Masters of their Craft

Editorial

Page 01

Readers Galleria

Page 16

Tommy Chia talks to PHOTOi about the fun he has shooting corporate editorial.

News

Page 02

Postcards

Page 18

Photo Events

Page 08

Masters of their Craft

Page 19

Hands On

Page 12

Lessons

Page 20

Hot Items

Page 13

Digital Darkroom

Page 22

Thru Kath s Lens

Page 14

Happenings

Page 23

Yian on the Move

Page 15

Distribution Points

Page 24

08 Digital Darkroom Master your digital black and whites.

Log onto www.photoi.org/contests to enter our Wet Wet Wet Photo Competition.

PHOTOi | Apr 2005 · 01

News · Snaps

Snaps

Latest News

Digital Film Fiesta

On the Silk Road

Photos by Ming

A large number of hand printed silver gelatin photographs by local photo artist, Kheng-Li Wee, went on show at the Art Forum in Cairnhill Road recently. Kheng-Li, well known as a photo tutor at various institutions in Singapore travelled along sections of the famous silk road with his Hasselblad X-Pan looking for subjects for his black and white exhibition.

Singapore launches a national quest for film talent. The Panasonic MDA Digital Film Fiesta was recently launched and budding scriptwriters and directors have the next four months to come up with creative ideas and concepts to impress the judges. The fiesta is the largest and most ambitious talent hunt of its kind in Singapore. It is a multi million dollar initiative comprising of four components, the national script writing competition, digital short film competition, High definition productions for TV and feature films and fringe events. By the deadline on July 25th 2005 contestants will have taken part in a series of film making workshops which covers such topics as directing non actors, music in films, crafting your stories into commercial viable films and more and expect to see famous directors such as Jack Neo and Royston Tan in attendance. The goal for this years fiesta is to promote the script to screen concept where by some winners may see their works developed into feature length productions. For more details log onto www.digitalfilmfiesta.com.

Celeb Portraits

Talented photographer and well known digital man-about-town, Chris Yap, featured in the recent TCS Celeb Portraits program on the Arts Central Channel, as one a 12 local artists selected to portray four famous faces in their chosen media. Chris s interesting portrait of journalist Diana Ser later went up for auction along with the other paintings, sculptures and drawings at the Wisma Atria building.

Hands at TPG NTU graduants Elvie Ko (left) and Lu Caixia, opened their first exhibition The story of hands recently at the Photographers Gallery. Both developed a love for photojournalism during their studies at NTU and later they decided to complete a body of work on the subject of hands, because it occurred to them that hands are common to daily life yet were still a relatively novel photographic subject.

Sunrise Shooters

Thanks to fires in and outside of Singapore and the resulting haze in recent months if you get up early enough then you would have found the mornings and evenings are really ablaze with a strong golden light. Recently we spotted a couple of nice examples that crossed the PHOTOi desk which were submitted by Steven Yee Pui Chung and Hamidah A Majid. Steven said he shot his with a Nikon D2H with the 18-70mm lens, set at ASA200. Well done guys.

Photo by Hamidah A Majid

Photo by Steven Yee Pui Chung

06 · PHOTOi | Apr 2005

Tibet

Mounting an exhibition is never easy as four photographers found out recently while launching their Tibet: Through the eyes of 4 Travellers travel photography exhibition at the Jurong Regional Library. Christopher Foo, Gwen Lee, Kai and Simon Leong spent a long and tiring day mounting their exhibition about discovering another side of Tibet through talented eyes of these four photographers. The team also later presented a series of four slide presentations over the following weekends at the library, detailing their experiences in Tibet.

Intimate Portraits "Sur Les Lieux De Regard" or French Museums, Intimate Portraits by Gerard Rondeau opened recently at the SG Private Banking Gallery in the Alliance Française de Singapour building. On show were the stunning black and white works of noted French photojournalist, Gerard Rondeau, who has been on a 10 year long commission to photograph behind the scenes in French museums. Intimate, quirky, well-composed and very well structured, Gerard s images often catch you out with the uniqueness of his eye; they invite you to look closer into the image to see how and why he took these images. The exhibition will be on show until the 2nd of April. The upgrading of this gallery in recent months has seen it move to another level and is now in a more open visual place on the second level.

Ming

The third in the current series of Mercy Relief exhibitions opened at the Gallery Hotel with works by talented photo artist, Ming, entitled This side up . Unlike the previous exhibitions in this series that looked at life in the disaster hit areas, Ming s works looked at the people and volunteers who came out in their thousands to help at the Singapore distribution points and storage warehouses of Mercy Relief. They worked for weeks organising and packaging the aid for victims of the tsunami. All the images from the Mercy relief series later went on show at Plaza Singapura.

Photo Events

Words and photos by John Cosgrove

IT SHOW The photo industry is out in force at the first of only two shows targetted at photographers this year. The big draw cards of the IT Show held at Suntec City was a Canon 350D, the Olympus E300 and all the great deals on storage media from Kingston, Sandisk and Eastgear. The next show that the photo industry will be attending will be the Sitex Show in the last part of 2005.

Kick Off Time The FAS kicked of their S-League season with a gala photo event down at Orchard Road. A number of photographers gathered in the rain to catch all the action. PHOTOi will be talking with FAS soon to arrange some special shooting access for readers just like we did with Canon and the FAS last year so stay tuned.

08 路 PHOTOi | Apr 2005

Photo Events

Words and photos by John Cosgrove

NIKON D2X PHOTOi Editor John Cosgrove was one of the guest speakers at the launch of Nikons new pro D2X digital SLR. A large audience of photo enthusiasts and professionals turned up at the HDB hub in Toa Payoh, to get their hands on the new 12.7 mega pixel camera. Also speaking was Darren Soh and Nikon tech man Max.

Lest We Forget

On show recently at The Paragon was a photographic commemoration of the Tsunami disaster titled lest We forget by 11 Straits Times Photographers. More than 50 stunning yet thought provoking and evocative images taken by these talented news photographers from throughout the disaster zone were on show. The exhibition was later shown at the Mercy Relief gallery hotel and then at the SPH foyer in Toa Poyah.

PHOTOi | Apr 2005 · 09

Hands On

This has to be the Easiest Way to Share Digital Photos by Email... Let s try something out First browse though your DSLR 30-40 megabyte images for the one you want to send to a fiend or a client. Now right click on it to open up the image properties file, select the level of compression you want from the drop down menu. Anything from 80k down to 10K is available. Now you can either think up a more descriptive title for your picture or add in a caption or you might even want to add in some words or music as a 10 second sound bite embedded as an audio file in each image. Finished, now select Send and the image will now open up in your client email account (Mail, MSN Entourage etc) and send away to your friends and family confident that it will be accepted by Outlook, Yahoo, Hotmail and more and won t be blocked by most ISP s. Simple. Sounds too good to be true-but it is. Gone are the days of long tedious emailing of images, now with the eFotoXpress you can send your digital images quickly, safe and secure that they will get there using the fastest, easiest way to share digital photos by email. EFotoXpress is the only solution to send large sized JPEG, TIFF, and BMP files compressed using the new JPEG2000 file compression technology. Manufacturer AMC s JPEG2000 image compression technology is based on wavelet compression algorithms. Wavelets are Step 0ne:

10 · PHOTOi | Apr 2005

mathematical functions that cut up data into different frequency components and then study each component with a resolution matched to its scale. Currently we all use the standard JPEG image compression standard, which is based on a lossey Discrete Cosine Transformation (DCT) equation. The new standard JPEG2000 offers greater flexibility and allows images to be stored, accessed, edited and transmitted more compactly and efficiently. It provides a new framework to better address the increasing needs for compression and functionalities for still image applications such as printing, digital photography, scanning, mobile applications, digital library, and medical imaging. Blocking artifacts are the most visible type of distortion introduced by very low bit rate DCT image coding schemes such as JPEG but with JPEG2000 that is no longer a problem. This new compression standard provides low bit rate operations with rate-distortion and subjective image quality performance superior to JPEG standard. Designed for Microsoft Windows XP, 2000(SP2), ME and 98SE, the eFotoXpress program saves you hard disk space and allows you the option to add up to 10-seconds of voice to each image. You can create, view and send talking slideshows! The eFotoXpress program comes with enhanced print capabilities that get the most out of JPEG2000 capabilities of printing high quality photos from up to 3x5 to 8x10 in size. For more info check out www.efotoxpress.com Step Two:

Step Three:

Hot Items

Words and photos by John Cosgrove

Latest Bites! What s new and exciting

2>CANON PIXMA Printers Canon introduces AIO photo lab concept with the PIXMA MP760 The new PIXMA MP760 from Canon not only prints, scans and copies, but is also the first AIO designed as a one-stop, computer-free home photo lab. This PictBridge-enabled* AIO not only reads images directly from digital cameras and memory cards, it scans and restores slides and photo prints too. PIXMA MP760 - S$699

[2]

[1] [4]

3> CANON EOS 350D - Light and Powerful

1> VARTA 15 Minute Charge and Go

Canon packs even more powerful features into its new entry-level digital SLR. The ESO350D offers high image quality consistently using a 2nd generation 8-megapixel CMOS sensor; a 3-layer low pass filter (LPF) and a DIGIC II high-resolution image processor that work together to minimise unwanted noise and false colours and improve colour reproduction effectively. Its both compact and lightweight. The EOS 350D is sold as a kit set bundled with EF-S 18-55 mm/F3.5 - 5.6 II lens and is expected to be available in Singapore in midMarch at a recommended retail price of S$1,999.

VARTA have released the world s fastest rechargeable system for AA and AAA rechargeable batteries. The 15 Minute Charge and Go system allows up to four 2,000 mAh AA batteries to be recharged on one of the worlds easiest to use charging systems. The batteries can be charged up to 1000 times and offer constant power output without memory effect. The full VARTA 15 Minute Charge and Go system retails for $89.95 [3]

4> Seagate Drives Seagate s Compact Flash Photo Hard Drives and external storage devices were designed with photographers in mind. The first ever 5GB photo hard drive for cameras is perfect for all digital photography hobbyists and professional photographers as it holds more than 4000 photos (3MB) in a Compact Flash Type II media format. Second on the list is the yoyo shaped 5GB pocket hard drive which is the world s first 5GB hard drive small enough to fit in a pocket and is a very cost effective storage alternative to thumb drives for about the same price. A cool looking robust design with a sleek shell it comes with a retractable USB 2.0 connector. RRP: SGD$359 [5] [6]

5> HP s new Photosmart BMW Williams F1 Team Special Edition Digital Camera Life in the fast lane moves quickly with the limited edition HP Photosmart BMW Williams F1 Team Special Edition Digital Camera. Grand prix fans now have the opportunity to become part of their own unique club with this limited edition digital camera. Designed for car and racing enthusiasts, the HP Photosmart R607 navy blue camera "revs" like an engine when turned on and features unique packaging - a silver collectors' tin embossed with the HP and BMW logos. The camera comes signed by BMW Williams F1 team racer, Mark Webber. It features a 4.1-megapixel, 21 x total zoom is stylishly small and has HP Real Life technologies, which includes adaptive lighting to adjust shaded areas of photos, in-camera red-eye removal and panoramic view. The HP Photosmart BMW Williams F1 Team Special Edition Digital Camera is available at SGD$699.00, inclusive of GST.

6> Olympus IR-500 camera and Printer Olympus i:robe IR-500 and P-S100 digital photo printer The i:robe IR-500 digital camera, part of Olympus dock and done modular concept, allows users to shoot, organise, store, share and print digital images without a PC. It is the first Olympus camera to feature a 360-degree rotating (front to back) 2.5-inch high-contrast 210,000-pixel Semi-Transmissive TFT LCD display, and has 4 megapixels, 2.8x optical zoom lens (or 30x total zoom including digital zoom), 17 scene shooting programmes and QuickTime® Movie mode with camera shake correction function. The i:robe IR-500 digital camera connects directly to the optional P-S100 digital photo printer, a new dye-sublimation photo printer designed to work without any connection to a computer, for instant printing. Compact, sleek and lightweight at just 1.1 kg, it can print borderless 4 x 6-inch photo lab quality prints in 84 seconds (approx.) in 16.77-million vivid colour quality.

7> The Olympus CAMEDIA C-7070 WIDE ZOOM [7]

In next month s issue check out the new Nikon COOLPIX s. 12 · PHOTOi | Apr 2005

The 7.1-megapixel C-7070 WIDE ZOOM convincingly provides the results for versatility and excellence in all facets of photography. It has a sturdy magnesium-alloy body to support the high-quality (f2.8-4.8) lens with aspherical and ED elements which offer of wide-angle 27mm extending all the way to 110mm. In addition, a special 143-point dual autofocus system that enables predictive measurements for back or forward moving subjects has been incorporated in a compact Olympus camera for the very first time. This is coupled with the full manual control that is provided to ensure there is no limit to creativity. The CAMEDIA C-7070 WIDE ZOOM is now immediately available at all major retailers and dealers at a recommended retail price of S$1,199 (inclusive of GST)

Thru Kath s Lens

Focus On Flowers

About Kath An award winning women and children photographer.

When my daughter picks up her camera I know it s time to head for the garden Flowers draw Kacy s eye and lens to them like a magnet and she loves nothing more then sharing this whole photographic experience with Mum. We have enjoyed countless hours out in the field creating floral images and would recommend this type of photography to anyone who has a love for the outdoors and a lot of patience. There s no need to rush out and buy macro lenses and extension tubes make the most of what you have first. Later, once the stamens and little bees collecting pollen start begging you to take an extreme close-up shot, then its time to part with your hard earned cash. Whether you are shooting with an SLR or a compact camera in macro mode, here are some tips to get you started. Set your alarm: The best time to photograph flowers is early morning when the light is softer, the air is fairly still and the flowers are fresh from the slightly lower night temperatures. Early morning dew on a flower adds extra interest to an image but is not always a possibility here in Singapore so why not take along a small spray bottle full of water for that instant dew effect or venture out after a rain storm. Use a tripod: Reduce camera movement as much as possible by using a good solid tripod. Once you start using macro lenses this is even more important as focus is critical and larger apertures are needed which means slower shutter speeds. View every angle: Walk around your chosen flower looking through the camera to decide which angle, background, lighting situation you prefer before you shoot. Don t just stay at one level, try a look down shot or lie on the ground and look up compact cameras with a rotating

14 · PHOTOi | Apr 2005

LCD screen are great for these situations! Don t damage the environment: Picking the flowers or removing vegetation that you think ruins a shot is a definite no-no. Instead, gently hold the offending leaf to one side whilst you take your shot, being careful not to trample any plants in the process. Vary your shots: Take environmental shots to show where your particular flower grows, fill the frame with your perfect bud, bloom or set of flowers or if you can zoom in on just part of the flower. Use the LCD screen: When using a compact camera, always use the LCD screen for checking framing and composition this eliminates parallax conversion problems that you get when using the eye viewer for close up shots. Aperture preview: if your camera has an aperture preview button then this is the time to make good use of it this will allow you to see what your field of focus is and whether you need to adjust your aperture for the effect that you want. Back light: Don t always shoot with the sun behind you. Most petals are fairly translucent so when sunlight shines through from behind them, the flowers almost appear to glow, the colour is enhanced and the image comes to life. Watch out for flare in this situation as the light is coming toward the camera. You may have to shade the front of your lens or reposition your camera to where you can still get the effect that you want but without the sun shining straight into the front of the lens. Keep backgrounds clean: Make sure there is nothing in the background that will attract the viewers attention away from your subject such as distracting highlights or brighter coloured

flowers. Some professional nature photographers use coloured pieces of card behind their flowers to correct a messy background. Try zooming in or use a longer lens and a wider aperture to help isolate your flower against a fuzzy, out of focus background. Watch the wind: If your chosen flower is blowing in the wind then it is very hard to get a good shot, you can either be very patient and wait for a lull in the breeze before quickly snapping your shot; try to create a wind block; choose a slow shutter speed to accentuate the movement or call it quits and try again on another day. Avoid harsh light: direct sun causes harsh shadows and washed out colours. It is best to shoot flowers in open shade or slightly overcast conditions, as the colours will be more saturated. If you must shoot in direct sun, try using a reflector to bounce light back into the shadows or try fill-flash. If it is possible, use an off-camera flash at a 45-degree angle from your camera to avoid flattening the image. Alternatively, filter the harsh sunlight through a diffuser. Use the shadows: for a dramatic shot use deep shadows as backgrounds for flowers highlighted by sunlight and remember to meter off the flowers not the background. Don t get too close: check your compact camera manual or the distance scale on your SLR lens barrel to see what your closest possible focusing distance is. Some cameras and lenses will let you focus within a couple of inches of your subject, whereas others need you to be a few feet or even over a metre away. Too close and your camera will not be able to focus. Use your imagination: Forget the rules! Work with harsh light and deep shadow etc - try something different, be original, experiment and above all HAVE FUN!!

sThe

camera i use: Nikon D100, Canon EOS 1N

skath@photoi.com.sg

Take a look!

Yian on the Move

1 2 3

About Yian Award winning young photographer who has been travelling throughout Europe for the past year. Has recently worked as an intern at Paris Magnum. Now he is following his dream of shooting photo stories in some of the worlds high risk areas. sThe

camera i use: Canon EOS1DS

CAPTIONS 4

1,2,3,4: What you really need to start a small business. A shelter to stay dry (shed, back of abandoned van, etc). A coffee pot and gas heaters (electricity is unreliable) . Water (in drums or 20x1.5l bottles). Inventory (coffee, tea, sugar). Throw in a sink for washing, and two pails under it for drainage (used one at a time). Mix with a little motivation and hard work, and you have enough to feed a small family. (Fares, 26, has two children.)

What do you really need? Could you handle TV s Survivor?

What would be your strategy for surviving not only the physical elements, but also your peer group? As I wrap up my three months photographing in Palestine, I reflect on these people who have lived and have so very little and think about the adaptations that people have made in order to survive and prosper. Maslow wrote in his Hierarchy of Needs that there were seven categories of human needs, from physiological ones at the bottom to self actualisation at the top. The principle was that one could not advance up the ladder until the lower rungs were satisfied. For example, if a man is hungry, he would not be thinking of trying to satisfy sexual urges. At the lowest level are physiological needs. Survival training teaches us the rule of threes. Three minutes without air; three hours without heat (in extreme conditions); three days without water; and three weeks without food. I have photographed the latter three categories in some form or other charcoal-making industry in small villages, water wells and their owners, and farmers of various types, as a few examples.

I realise that we in the developed world are far removed from these basic fundamentals of providing for life. If the need arose, how many of us could clean a chicken, start a fire to cook food, bake bread? It was very eye-opening and instructional for me to spend so much time photographing these industries. Next are security needs, which are not met for the Palestinians, but people still try to leap over this level and satisfy their other needs. The lack of security is overcompensated for by the needs of belonging and love. Parents touch and hold their children all the time, fathers especially. Men hold hands in public. It is quite something to watch, and admire, and sometimes, participate in, as some newfound friend takes your palm or hands you his child to hold. People also try hard to satisfy their esteem needs. People need something to believe in, especially when it is hard to believe in themselves. Religion takes centre stage, and is supplemented

by martyr worship. Martyr posters, commemorating fallen comrades, abound in every town and village. The homes of families of martyrs are decorated top to bottom with huge posters, sometimes taking up the entire living room wall, and the families continually paraded as shining examples of the community are never left to forget their loss. Humor is always present in each community. Each village has its clown, and after one particularly side-splitting session photographing one such individual, I was told by one of the other villagers, don t ever forget him. We need him. Entertainment in the form of TV s or radios is ever-present as well. Everyone has a TV, many times connected by satellite, or at least a radio. It may be broken and battered, but it works. Somewhere at the top of the list is self actualisation. But I don t think the Palestinians are there yet. What about us Singaporeans? What do we really need? Besides our 5 C s (or CC s), our 15-500 mm 1DSHXs, what are the essential needs of photographers? PHOTOi | Apr 2005 · 15

Readers Galleria

Words and photos by Wee Keng Hor

Kids Photography is No Kidding! We all shoot to share, here are some of our readers images I m known as a travel photographer but looking at my recent years of travel record, I can no longer term myself as one. When I brought my then 10 months old son to Shanghai in 2001, it was manageable. I was able to juggle pretty well between travelling, shooting pictures and taking care of my child although my tripod was replaced by the baby pram and bulk of my camera gears was trimmed to make room for milk powders and diapers. Then the trip to Bali with my son and daughter in 2003 was a total flop. In fact it should be called a trip to a Bali resort because I found myself spending 90% of my time inside the hotel tending to the kids. Now with the arrival of my third child, I dare not think about travelling at all! Nevertheless, my passion for photography continues to burn and also the need to express my artistic vision. So I turned my camera away from the foreign and exotic faces and aimed it at my dear little children. Daddy has given up all his travel expenses for your milk powders, so you kids better be my photography models! Well, if only my kids listen and obey me like disciplined soldiers. Cute and adorable they may be, children are actually difficult photography subjects. While it is easy to have a simple record shot, getting all the elements right for a compelling and artistic shot is challenging. They cannot be instructed like an adult to hold a certain pose or expression. They need to be coached and pacified to co-operate and their attention time span is really short. Parents also need to understand their kids well and anticipate their move or expression. Fast reaction is a must as many treasured moments last just a split second. Very often the photographer has to get down on his belly to shoot at the level of the kids. While most people would only take photos on special occasions with their children dressed up, any moment is great for me. The challenge is in turning a normal scene into a special moment nicely framed with the right composition and a nice background. There are many tricks to do that like creative framing, using long exposure to create motion blur and utilizing lighting to dramatize the scene. Although I m no fan of altering a picture digitally, photo-editing software can be used to enhance a picture if the necessary elements are there in the first place. Children grow up fast and recording their little moments will help to keep the memories fresh and intact. Going through the old albums together with the whole family is a wonderful and heart warming experience. And while getting nice shots are satisfying, the process of photographing the children fosters the bond between them. Wee Keng Hor Handphone: 91177847

Whether it be nature, kids, sports or whatever, please Whether it be nature, kids, sports or whatever, please send us a selection of your best images of subjects send us a selection of your best images of subjects based around a common theme so that we can show based around a common theme so that we can show off your work to the world. Send prints or email off your work to the world. Send prints or email your best images to editor@photoi.com.sg or mail your best images to editor@photoi.com.sg or mail them to Hardware Zone Pte Ltd 20, Ayer Rajah them to Hardware Zone Pte Ltd 20, Ayer Rajah Crescent, #09-04/05/11/12 Singapore 139964, Crescent, #09-04/05/11/12 Singapore 139964, attention to PHOTOi. attention to PHOTOi.

16 · PHOTOi | Apr 2005

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Email : kenghor@hotmail.com

Postcards

Photos by Jeremy Alexander Choong

PARIS and The Eiffel Tower A picture story by Jeremy Alexander Choong Originally built to impress visitors to the Universal Exhibition of 1889, it was meant to be a temporary addition to the Parisian skyline. Today it finds itself as the most famous and recognized icon of the city, if not the country. The 324m high Eiffel Tower was the world's tallest building until 1931, when New York's Empire State building was completed. Every morning, tour buses by the dozen arrive at the Champs du Mars delivering their payload of tourists enthusiastic in their assault towards the top of the tower.

standards. This is the rewarding view that all visitors to the Tower endure that long wait to get up for. At the top level of the Tower, one can see more than 80km on most days. Tourists and their buses appear as tiny specks in the middle of the Champs du Mars. Gustav Eiffel's gold plated bust stands at the base of the west corner of the Tower's gigantic "feet". His achievement of the design of the tower was

crowned with the Legion d'Honneur in 1889. This elderly couple rest by a bench beneath trees devoid of branches, both wooden and metallic. The Tower seemingly forms a huge, bare, leafless tree behind them. The tower on a clear blue winter's day, stands out among the leafless wintry trees that line the boulevard.

Captions (Main pic above) Paris: The icon of the French capital, the Eiffel Tower rises majestically over the boulevard of the Champs du Mars park. At night, its beacon of light reaches over 2km in a rotating display over the city; the lighthouse of Paris.

Typical attempts to reach the top can mean a two hour wait. Queueing for the lifts from the ground to second, then second to third levels account for most of the time. On a clear day, the tower is a giant structure of steel projecting towards the blue sky. The design of the tower was so sound, that it never sways more than 7cm in the stongest of winds. Gustav Eiffel designed a structure that is really an architechural masterpiece, even by today's

From the north tower of the Notre-Dame, this gargoyle seemingly ponders the view over the Parisian cityscape and the Eiffel tower in the distance.

18 路 PHOTOi | Apr 2005

Paris: The Musee de Louvre awakens to a purple dawn over the Seine. Early-bird tourists brave the blustery winter morning to take a cruise down the river through the Parisian heart.

This man strides purposefully across the front of the Royal Palace, as these columns rise inches above the ground. Rising from beneath the surface, they support an underground storage area beneath the front of the palace.

The Moulin Rouge by day and by night. The nightclub made famous by its cabaret dancers and recently by Baz Luhrmann's musical show of the same name,it is one of Paris' most famous night scene spots, if not the most popular.

The Royal Palace appears like a misassembled Da Vinci toy in the reflection of these spherical sculptures.

All images copyright 漏 Jeremy Alexander Choong 20

Masters of their Craft

Words and portrait by John Cosgrove, all other photos by Tommy Chia

A High Flyer

From hanging out the side of a helicopter to shoot an oil rig in the morning light to corporate assignments in exotic locations like Cambodia, Sarawak and Sabah, Tommy Chia and the team at Studio 8 have done it all. I actually started out as a wedding photographer, said Tommy, but when the business slowed down in 97 I moved over to corporate editorial work. It s really fun because it s exciting and challenging. You know, I get to move big toys like ships around, mind you that s all part of the planning for a successful shoot. Once we had to co-ordinate two ocean going bulk carriers coming from two different directions to be in the same spot at the same time in the Straits. It wasn t easy as one was much slower than the other and we only had limited helicopter time but we did it.

For the past five years Tommy has built up a good rep as someone who can get the job done for the oil industry. His aerial work is well known as he has recently started covering the new Sentosa Cove development from the air in Singapore. That s a lot of fun and we hope to be working with them for the next three to four years on a project basis. Tommy is also well known for his people skills and his studio walls are lined with many celebrity portraits and large group shots. His current client list includes Mindef, SCDF, shipping and ocean liner companies, Sentosa Cove and the oil industry to name a few. A couple of years ago we went to NagaWorld casino in Cambodia to shoot their promotional material and it was great, we were treated like rock stars. Said Tommy, Another client is an Indonesian resort

who sent a police escort to meet us and people keep asking who the VIP s are.

2: Aerial work requires steady hands and a good stomach.

Working with a client is very important in our line of work because the costs are often very high with helicopter time. There needs to be a lot of planning and the pilot must be know how to fly at the correct height and from the best direction etc to get the best shot.

3: Know your equipment well

We started out as a film operation as most did, but now we are a total digital solution. I shoot everything on manual as is it s pretty hard to trust priority modes on the camera when you are out over a shiny sea. Five good tips for budding corporate photographers: 1: Identify your clients needs by doing your research well.

4: Picture composition is very important to create that dramatic shot. 5: You must have an eye for the details.

Studio Address: 37, Lorong 23 Geylang, Yu Li Industrial Buidling, #09-05/06, Singapore 388371 Tel: (65) 6749 3998 Fax: (65) 6749 2998 www.studio8.com.sg

19 · PHOTOi | Apr 2005

Lessons

Words and photos by John Cosgrove

We ve all done it, dreamed of making the jump from amateur to commercial photographer, the lure of the big bucks job working for National Geographic Traveller, Time Magazine or some big MNC who will fly us around to shoot pictures of their factories or hotels for their annual report. Many of us have made the transition but only a few have really survived in the cutthroat world of commercial editorial and corporate photography. Talk to those who are making a good living from corporate assignments and you quickly see that it is all about two things, your people skills and being able to think on your feet to solve unexpected problems. Creative and technical ability are important as they come with the package that is you, but when the weather packs in and you re stranded or the photos are just not happening, because the staff don t want to pose, then you must use all your people skills and imagination to be able to complete the assignment on time and on budget thinking quickly on your feet is the greatest skill you can have. As usual it starts with a phone call, J Can you come down to the Seagate factory and shoot some people shots for us for our company profile? J - (that s me) No worries mate, Can I come down there tomorrow for a recce and a design meeting so that I can see what you want me to shoot? J Sure, see you at 10, can. And that s how it starts. A possible client has called because a: you have been referred by an agency or b: they see your work in another magazine and like your style. Every successful corporate photographer has a style and his or her marketing strategy should be based around selling that distinctive style. You can quickly become known for your style i.e.: for shooting great architectural interiors or exteriors - Albert Lim, or inventive product and location shots Charlie Lim, or great indoor car shoots - Andy Wee and for alternative yet imaginative corporate colour images they may look to Peter Chen. Agencies and clients seek out those whose style suits their purposes and if they like your style

20 · PHOTOi | Apr 2005

and how you work they tend to hold onto you. But this working relationship is all dependent on you! How you work, how you approach the assignment, how you produce and how you service their needs, is all related to your work ethic, people skills and attitude. The first step is to arrange a meeting with their marketing people on site so that you can view the facility and talk through the assignment. This is the first touch; from here it is very important to show how well you work so leave your ego at home as your future financial success depends on these first impressions Golden rule 1:Listen. Don t go in with preconceived ideas about how you should or would shoot it, listen to what they want then decide how you can package it up for them. Take their ideas and then go on a recce of the place to find areas or locations where you can make their

ideas happen. As you walk around look on the walls to see what they have used in the past for their advertising and corporate imagery as it will give you an idea of their expectations. Carry a notebook to jot down all their ideas and try and match them up to the locations and photo scenarios that you can envisage. Golden rule 2:Planning. Do your research. Nothing beats surfing the web to see what this company has done and how it has been portrayed

Lessons

photographically in the past.

The big day:

Golden rule 3:Sell yourself and your creative vision. Its simple really, after the recce, sit down with the clients and walk them through the shoot. Use all your powers as a salesman to convince them that you can take their concepts and turn them into reality. Walk them through each shot, label them 1, 2 and 3 etc and describe each one in graphic detail, lighting, angles and the message it is supposed to convey. Remember to always work within the boundaries of their initial ideas; don t stray too far just yet into the realms of fantasy. Keep that for the shooting day.

Golden rule 4:Arrive early. Things have a habit of changing despite the best-laid plans of mice and men. Upon arrival and once I had cleared the company security facilities I found that several photo ideas had been modified, fine - no worries there. Then the hard part started. The first port of call was the clean room where we found our initial idea of a set up shot outside was unachievable so I set up a close window shot. Mounting the camera lens right up against the window to cut down on the reflections, it was a matter of positioning the staff via hand signals and using the glossy metal covers of the foreground hard drives as reflectors to bounce the strong available light back into their faces. The dressing area where the staff prepared in their jump suits for work in the clean room offered me a wide variety of natural people shots so using a combination of available light and bounce-flash I captured them at work. The only problem was that when I had visited several days earlier there were a lot of suits around and now they had all gone, something about a shift change I think, but anyway it meant we had to return several times during the day to try an capture more than one person at a time suiting up. This room also allowed me to shoot the cover shot for PHOTOi. Getting one of the staff to pose was no problem, getting another staff member to hold one of the flashes high above them was again no problem. The only real problem the whole day was a card failure just as we finished the cover shoot. This we discovered thanks to the iBook. So it was back into the suit again for him and we started all over again. I positioned the two gel covered SB600 flashes in a variety of locations around him and used the 70-200 VR lens to shorten the perspective as I wanted the disk drive to be really sharp and him slightly out of focus to highlight the drive. I used all the three flashes on manual power in order to control how much light was falling on different elements of the photo, the main SB800 was used at 1/16th power just to kick a little bit of light on the drive while the SB600s were shot at 1/8th power to underexpose their colours and therefore intensify them while the camera was shooting on rear curtain sync of 125th of a sec at f8. All in all it worked better than what I had expected. Moving out of the clean room we went onto the production floor where the easy shots could be taken. The logistics lady moving hard drives around was shot walking backwards at speed using a slow shutter speed again setting the camera on rear curtain sync while my minder held the flash out to the side, we must have looked very funny walking backwards.

The sit down and factory tour went well. After we had discussed the ideas and concepts they had we went on a walk around the factory floor where I looked at the locations, looked at the available lighting, stopped and talked to staff and looked into the working relationship these people had with the company i.e.: did they like working there? The people I needed to photograph were great; the locations were good - except for the clean-room assembly area, which I couldn t go into so I had to come up with viable alternatives to achieve the same visual effect. As I could only shoot through the glass I planned to dress up the staff outside the room and pose them for the cover shot. So after a shooting date was set it was back to the office to start planning. Researching my ideas I looked through some old Kodak photo guides for ideas on lighting and composition. Even though these books were nearly 30 years old they are still a valuable resource as their ideas are just as relevant today. Because I was working within a very short time frame (9am4pm) and I had 12 different shots to take I had to carefully plan a shot-count schedule. Working around high tech assembly machinery meant I had little space but I had to be able to move fast and yet safely so this discounted my initial thoughts to bring along large static studio lights so instead I planned to use portable flashes from the Nikon Creative Lighting Set. Two Nikon SB600 s and one SB800 were linked up via the CLS wireless and although I had some initial doubts I found I quickly became very dependent on them. The night before the shoot I made sure I had everything ready. Extra batteries for both the camera and the flashes, coloured gels (the locations were all bland white or cream), tripod, masking tape, reflector disks, note book with the shot count organised in it, Apple iBook (because of the secure nature of the site the client wanted to view the images to make sure no secrets were revealed to competitors that s fine by me). I checked the Nikon CLS several times to make sure it was all working, set the channels correctly and then put all the kit into two Lowe Pro bags.

Golden rule 5: Include the other Stakeholders.

It s always important to include your company minders and fixers in the creative process because, just like you, they have a lot riding on whether you can deliver or not. They are very important stakeholders in the whole process as they sold your ideas to their bosses and stand to lose more if you don t fulfil your part of the contract; they are also the ones you have to impress should you want to continue this business relationship. The best way is to get them to help out as your assistants; they are always willing to help hold a flash/reflector board or scout for distracting backgrounds. The man packing boxes and the lady arranging hard drives were very easy side lit shots, using the different coloured gels to add some colour in a rather bland mono colour environment. A different viewpoint helped clean up distracting backgrounds. Always remember that not every shot is going to be an award winner, some or most can be rather static but occasionally you will get one that gets your creative juices flowing faster. At the circuit board installation bay and the hard drive testing area I was able to pose staff in the picture and mould the light around them, all this done without interrupting their normal work schedules. The ability of the Nikon CLS to free stand was a big bonus as I could place them high or low or inside machinery very easily without having to accommodate long power and connection cables. This is where I started to play as I noticed the drives went under a laser reader as they passed by so I thought that would make a good picture. Okay it was outside my brief but I just had to shoot it and the client liked it anyway. It all comes down to how you sell it. I was shooting through a 6 cm gap in the machinery to get the right angle, the PR minder J helped out by holding a green covered flash (the Seagate corporate colours) way over on the other side to add drama to the picture, then I just waited until the hard drives came along and tried to capture them as they passed under the laser beam. The easiest shot of the day was in the testing room where I had to shoot from 6meters away to an engineer sitting between rows of computers. In order to use a flash on the subject I used all the flashes linked together to shoot around the computers banks. One of the most challenging shots was the final one I did the next day at the Seagate design center. I wanted to show a designer in action but rather than shooting over their shoulder or getting them to bend backwards to look at the camera I planned to have them reflected in the screen looking at their drawings. In uncharted territory here I was determined to make this shot happen. The hardest part was getting the flashes to light the designers face and yet not over blow the

scene. The staff were a bit sceptical at first as their monitors are non reflective but thanks to the instant replay on the D70 s LCD I could show them how it was going. I found that by shooting her face from right in front of her with a blue gel covered flash and then exposing for its light I could over ride the screen. The next trick was to use manual hyperfocal distance calculations to find the best focus point of her reflection to get both her and the screen in focus. It came off better than I had planned and even though she was looking away from the screen the corrected perspective makes it look like she was in there reviewing her designs. The last part is the editing and it can take days especially if you have a large number of shots in RAW Nikon NEF mode. Due to the magazine deadlines we had to quickly select the front cover then email it off to Seagate who where very happy. The other images were selected later in consultation with the client after I showed them a concise 30 shot window with two options per shot idea. Don t over stretch the presentation session with too many similar images because it shows you can t make a creative decision. The skill is in you selling your creative ideas. By all means bring along the best, sharpest and well exposed images, but keep some in reserve and only show them if the client wants to see alternatives. Golden rule 6:Pricing: Pricing is always a bone of contention with professionals the world over, too high and you get no work, too low and all you get is aggravation as you are treated like a minimum wage employee and not the creative artist you are. When you try to charge more then the fun starts. Find the balance between what the client is prepared to pay and what you think you are worth. Celebrity photographer Russel Wong mentioned recently during his talks that if he was working here in Asia the pricing is very much dependent on finding out what the client can afford, yet when he works in the US there is a minimum price already set in place that reflects his talent and skill. Also look at how and where the final images are being used and then there are copyright considerations to take into account as well. For more information place a call to the Professional Photographers Association of Singapore. Final thoughts: Plan your shoot well with a decent recce, use for the right equipment and plan a concise shot count that reflects the ideas the clients wants, listen and always respect the clients wishes, include all stakeholders in the creative process, price yourself according to what the client can afford, edit tightly and sell your ideas well. Good luck.

About John Digital evangalist and photographer John, travels extensively throughout Asia preaching and teaching digital photographer skills. sThe

cameras I used: a Nikon D70 with SB800, SB600 linked by the Nikon Creative Lighting System. sjohn@photoi.com.sg

PHOTOi | Apr 2005 · 21

Digital Darkroom

Words and photos by John Cosgrove

08 09

In the Adjustment Layers Palette choose Solid Color.

Go to your Layers Palette and change your Blending Mode to Multiply.

Select a colour from the Color Picker or from the Swatches Palette . Your choice of colour should be based on the tonal range you wish to see in your final B&W.

Taking charge of your black and white conversions Mono chrome, black and white, greyscale, duotones, call it what you want but despite colour photography being almost universally accepted as the norm these days, there is still something exciting about a good solid black and white print. The tonal ranges, the sheer starkness of the image, the compelling eyes or lines yes black and white has it all. Most photographers consider black and white images to be the pinnacle of photographic expression, and if you look at the growing number of magazines rediscovering the joys of black and white you know it s going to

Complete all the previous steps in your personal digital workflow i.e.: Crop, Tone, Colour. Now we are at the Digital Stuff stage. Next finish all your image touch up requirements like removing skin imperfections with the patch tool, burning and dodging using the layers trick, removing highlights using the clone tool. Now its time to turn your image into black and white.

be around for a long time yet. The trick nowdays is to get your digital camera and printer to give you those same great black and white images we used to get in the darkroom. Yes! It is possible and even though we can all recount some real horror stories about images coming out in the past with blue or red casts instead of a subtle B&W tonal range, it is in fact very easy to get good solid B&W s from most inkjet printers these days. Now let s look this month at a way used very successfully by Epson Stylus Pro Greg Gorman. His B&W method is also available as a

Click (Highlight) on the Lightness Channel.

downloadable pdf from: www.greggormanphotography.com Tip: Don t use the camera s inbuilt black and white shooting mode shoot in sRGB and then convert it later.

Crop, Tone, Colour, Digital Stuff, Save, Output. Greg s method uses Photoshop CS.

Command/Control Click on the Gray Channel to load the selection you have just made.

In addition you may add a Curves or Levels Adjustment layer to achieve the desired contrast. Or should you wish to change the colour of your B&W Duotone simply Double Click the Color Fill and reselect a new colour.

Under Image menu, choose

04 Mode>Grayscale (Select Discard Color Information).

06 07

Under the Select Menu, choose Image>Inverse

Under Image menu, choose Mode>RGB Color.

22 · PHOTOi | Apr 2005

back the colour to your desire.

Tip: Don t use greyscale conversion as your basic black and white as it throws away 2/3rds of your image information.

Tip:Make sure before you start that you have the Channels and Swatches palettes visible. Under the Image menu, choose Mode>Lab.

Because your Color Fill is on a separate

11 Layer you can adjust the opacity to dial

Tip: Remember to print Black & Whites on Matt Paper to achieve a better presentation print, but because the Matt paper softens the contrast a little bit you might want to experiment with your final contrast settings, and also remember to always use Matt Black Inks with Matt Paper on your Epson printer. >>Next month we will look at producing monochromes using the Channel Mixer way. And how to achieve the same results using Photoshop Elements 3

Happenings

By Kath Cosgrove PHOTOGRAPHY COMPETITIONS

DIGITAL PHOTOGRAPHER OF THE YEAR 2005

Closing Date: 30th of each month. Organised By: PHOTOi and NIKON Entry Forms and Rules: www.photoi.org/contest Subject: A series of monthly themes where prizes and points are awarded each month. The photographer with the most points at the end of the competition wins the title of Digital Photographer of the year 2005. Open to: All except those working or residing in Europe, North America and South America. Prizes: Grand Prizes: 1st prize- latest top of the line Nikon Professional DSLR with AFS18-70mm lens. 2nd prize D2H DSLR the AFS 18-70mm lens. 3rd prize D70 DSLR with AFS1870mm lens. Plus monthly prizes of Nikon Coolpix cameras.

CELEBRATE THE SEA

Closing Date: 1 May Organised By: Celebrate the Sea Marine Imagery Festival 2005. Entry Forms and Rules: www.celebratethesea.oneocean.com/cts05 /cat&con05.htm Subject: An International Underwater Imagery Competition. Nine Categories: A Documentary. B Slides. C Colour and B&W. D Digital Portfolio. E AG/ONE Environmental Award. F Slide Show. G Book of the Sea Competition. H CD-ROM DVD. I Web Site Competition. Open to: All Prizes: Over USD$ 50,000 in prizes to be won.

TOTAL DEFENCE CAUGHT IN ACTION!

Closing Date: 15 May Organised By: MINDEF Entry Forms and Rules: http://td2005.totaldefence.org.sg/caught_ in_action.html Subject: Fellow Singaporeans doing their part for Total Defence. Includes: Military Defence Being operationally ready, Civil Defence Being alert and prepared, Social Defence Building bonds among all races, Psychological Defence Standing up for Singapore, Economic Defence Learning to stay employable. Two categories: Open and Youth (below 21 years of age). Open to: Singapore Citizens, PR, Student Pass, EP Pass/Work Permit holders residing in Singapore. Prizes: 1st: (Open) $2,000 + Nikon Coolpix 8400. (Youth) $1,200 + Nikon Coolpix 5100. 2nd: (Open) $1,500 + Nikon Coolpix 5200. (Youth) $800 + Nikon Coolpix 4100. Best of Show: Nikon D70 Digital SLR Kit for both categories. All winning entries will be exhibited at the National Day 2005 Carnival at Marina from 6 14 August 2005.

GIGAHERTZ 2005 - FUNPIX

Closing Date: 13 June Organised By: NTU School of Computer Engineering. Entry Forms and Rules: ghz.sceclub.com:20000/ghz/info.asp Enquiries: gigahertz@sceclub.com Subject: Digital Photography competition theme: Discover Singapore Joy in our Life. Digital Poster Competition theme: AntiPiracy. Open to: The general public of Singapore.

52nd SINGAPORE INTERNATIONAL SALON OF CREATIVE PHOTOGRAPHY

Closing Date: 8 August 2005. Organised By: The Photographic Society of Singapore. Entry Forms and Rules: www.pss1950.org/52SIP.pdf Enquiries: email pss1950@singnet.com.sg or phone 6334 3361. Subject: A digital photography competition. Three categories: Black and White, Pictorial (Colour) and Travel (Colour). Open to: All photographers worldwide.

PANASONIC-MDA DIGITAL FILM FIESTA

Closing Date: 1 May Organised By: Panasonic and the Media Development Authority. Entry Forms and Rules: www.digitalfilmfiesta.com Subject: Digital short film competition and national scriptwriting competition. Open to: All aspiring filmmakers and scriptwriters. Prizes: Win prizes worth more then $100,000 and stand a chance to see your work come alive on screen.

EXHIBITIONS

LIFE LIKE THE WORLD OF NOBUYOSHI ARAKI Part One: Flowers By Araki When: 23 March 23 April 2005 Hours: 11am 9pm daily. Where: epSITE, Epson Imaging Gallery, Level Three, Wheelock Place, Orchard Road. Featuring: Part of one of the largest Japanese photography exhibitions to be displayed in Singapore. Photographic works by renowned Japanese photographer Nobuyoshi Araki. Admission: Free Enquiries: Tel 6736 4986. Website: www.epson.com.sg

LIFE LIKE THE WORLD OF NOBUYOSHI ARAKI Part Two: Wanted: Dead and Alive Works by the Genius Photo-Maniac, Nobuyoshi Araki When: 23 March 23 April 2005 Hours: 10am 7pm Monday - Saturday. Where: Nanyang Academy of Fine Arts, 80 Bencoolen Street. Admission: Free Enquiries: Tel 6512 4000 ext 4042. Website: www.nafa.edu.sg

OVER ONE BILLION SERVED When: 3 February 9 May 2005 Hours: Open daily. Where: Asian Civilisations Museum, 39 Armenian Street. Featuring: Conceptual Photography from the People s Republic of China. Over 58 photographs show China s shifting social landscape following the impact of ideas from the West. Admission: $3 Adults/ $1.50 Students and Senior Citizens. Enquiries: Tel 6332 3015 Website: www.nhb.gov.sg/acm/acm.shtml

Where: epSITE, Epson Imaging Gallery, Level Three, Wheelock Place, Orchard Road. Featuring: A pictorial journey by Tan Yang and Akiko Fujita. Admission: free Enquiries: Tel 6736 4986. Website: www.epson.com.sg

Open to: All residents in Singapore. Subject: NACC is organizing its first photographic exhibition to allow all those who use the camera to express their talents to showcase their work, as an effort to promote arts and culture in Singapore. Enquiries: www.ngeeann.com.sg or at the security counter of NACC, 97 Tank Rd, Teochew Building.

THE BEST THINGS IN LIFE

WORKSHOP AND COURSES

When: March - May 2005 Hours: 11am 9pm daily. Where: ArtsExpression, Blk 2 Level 1, Singapore General Hospital. Featuring: A photography exhibition by Dr Clinton Chan. This exhibition is a fundraising project for Arts for Health, a programme that brings the healing power of art to Singapore General Hospital. Admission: free Enquiries: Angela Chen at 6327 5815 or angela.chen@singhealth.com.sg

THE PHOTOGRAPHERS GALLERY COURSES

SPECIAL EVENTS

Call for entries: PSS MEMBER ANNUAL EXHIBITION Closing Date: 29 April. Organised By: The Photographic Society of Singapore (PSS). Open to: All new and old members of the PSS. Subject: The Society would like to call upon new and old members to contribute two or three 12 x 16inch or 12 x 18inch photographs. Prints, ideally taken in Singapore, can be black and white or colour. Selected works will be exhibited at the Member Annual Exhibition and are likely to go on a roving tour to Malaysia and Thailand. Prints need not be mounted but the name of the Photographer, address, contact number and title of picture MUST appear on the back of the print. Enquiries: email pss1950@singnet.com.sg or phone 6334 3361.

Call for entries: NGEE ANN 1ST PHOTOGRAPHIC EXHIBITION

Closing Date: 15 April. Organised By: Nee Ann Cultural Centre.

A SPIRITUAL JOURNEY FROM SINGAPORE TO TIBET When: 25 March 18 April 2005 Hours: Open daily. Where: Loke Wan Tho Gallery, Selegie Arts Centre, level three. Featuring: This exhibition features 70 photographs by freelance photographer YANG Fei from his 4 years of intensive travel between Singapore and Tibet. Admission: free Enquiries: email pss1950@singnet.com.sg or phone 6334 3361

MICA Building, 140 Hill Street #01-02. Basic Practical Photography: 25 April Outdoor Portraiture Course: 12 April Nature Macro Photography Course: 13 April Enquiries for all tpg courses: Tel: 68373886. Email: info@tpgallery.com.sg

OBJECTIFS CENTRE FOR PHOTOGRAPHY AND FILM MAKING PHOTOGRAPHIC Courses: 12A Liang Seah Street Basic Photography: 7 or 19 April Intermediate Photography: 28 April. Black and White Photography I: 21 April or 3 May. Black and White Photography II: 13 April. Digital Photography I: 20 April. Digital Filmmaking: 12 April or 7 May. Enquiries for all Objectifs courses: email info@objectifs.com.sg or phone 6339 3068

THE PHOTOGRAPHIC SOCIETY OF SINGAPORE Courses: 30 Selegie Road, Selegie Arts Centre Building. Conventional Basic Photography: 4 April or 9 May. Digital Basic Photography: 20 April or 18 May. Black and White Printing: 19 April. Fashion Photography: 8 May. The Art of Seeing : 15 or 21 April or 5 May.

Street and Journalism Photography: 8 May. Flashlight Photography: 15 April or 13 May. Documentary Style Photography: 9 April or 21 May. Glamour and Nude Photography: 19 April. Travel and Creative Photography: 26 April. Wedding Photography: 26 April. Digital Darkroom: 10 May. Night Photography: 5 May. Studio Lighting: 12 May. What Do I Shoot For? : 19 May. Conventional Infra-red Photography: 8 April or 13 May. Enquiries for all PSS courses: email pss1950@singnet.com.sg or phone 6334 3361.

NATURE @ WORK WEEKEND PHOTOGRAPHY WORKSHOPS Workshop leader: John Arifin Msc.ARPS. Venue: 5 minutes walk from Somerset MRT (Orchard Road) Courses: Comprise of 3 sessions a total of 12 hours in a small group: *Basic Photography for absolute beginners and serious amateurs. *Intermediate Photography *Macro Photography and Creative Photography. Enquiries: www.natureatwork.net or phone 6235 0021.

PHOTOGRAPHY COURSES BY FRANCIS LEE Foundation Photography: Course comprises of 10 sessions with 2 field trips. Basic Studio Photography: Course comprises of 2 sessions (Sat/Sun) for 3 hours. Enquires: Francis Lee at 947 96311 or email huhututu@hotmail.com

BLOCK 43 STUDIO GALLERY Creative Photography: 8 week course / 3 hours per week Enquires: Tel 647 11359 or Hp 9684 8215 or email studio@block43.com or www.block43.com

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FIREBALL When: 20 April 1 May 2005 Hours: Open daily. Where: The Arts House. Featuring: A dance photography exhibition by Ung Ruey Loon and Melinda Ng May Yeng, held as part of FireBall Ecnad s red carpet event dedicated to dance. Melinda Ng s works entitled Uniquely Singapore show dancers in typical Singapore scenes such as Hawker centres and HDB flats. Admission: free Enquiries: email info@ecnad.org or phone 6226 6772

SHOOTING HOME 2005 When: 1 - 20 April 2005 Hours: Mon to Fri 11am 7pm, Sat 1pm5pm. Where: Objectifs, 12A Liang Seah Street. Featuring: Works of participants of the Shooting Home 2005 workshop. Admission: free Enquiries: email info@objectifs.com.sg or phone 6339 3068

BUD When: 22 April 5 May 2005 Hours: Mon to Fri 11am 7pm, Sat 1pm5pm. Where: Objectifs, 12A Liang Seah Street. Featuring: Works of Objectifs photography students from the January to March quarter. Admission: free Enquiries: email info@objectifs.com.sg or phone 6339 3068

LAOS: WOVEN MONTAGE When: 25 April 8 May 2005 Hours: 11am 9pm daily.

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Sincere Photo Studio, Blk 201A Tampines St. 21 #01-1059

Fujifilm Digital Imaging Service Centre

T&L Photo Service, Blk 248 Simei St. 3 #01-126

Top 28 Photo Colour Centre, Blk 447 Ang Mo Kio Ave 10 #01-1681

Standard Photo Pte Ltd, White Sands #B1-04/05

NORTH 1st Choice Colour Centre, Blk 261 Yishun Ring Rd #01-133

Whampoa Color Centre, 272 Balestier Rd

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Silver Photo Studio & Wedding Gowns, Blk 181 Ang Mo Kio Ave 5#01-2932

A1 Best Digital Imaging Centre, Blk 501 Jurong West St. 51#01-261

Spot Color, Thomson Plaza #01-11

Best Photocopy Photo Lab Service, Coronation Plaza #02-41

D Classique Colour Centre & Trading, Blk 624 Choa Chu Kang St. 62 #01-244

AMK Photo & Digital Imaging Pte Ltd, Punggol Plaza #01-10 Asia Pacific Colour, Blk 728 Ang Mo Kio Ave 6 #01-4228

Cherry Colour Lab Pte Ltd, Shaw Centre #03-16

Catholic Junior College,129 Whitley Rd CHIJ Toa Payoh Primary PhotoVideo Society,51 Jalan Rajah

Teng Fei Color Centre, Blk 208 New Upper Changi Rd #01-659

Contax Club Singapore, 66 Tannery Lane #04-01 Sindo Industrial Bldg

ABS Photo Centre, Blk 501 Jurong West St. 51 #01-265 ACC Colour Centre Pte Ltd, Blk 826 Tampines St. 81 #01-80

Chua Chu Kang Primary School, 20 Chua Chu Kang Ave 2 Damai Secondary School, 4800 Bedok Reservior Rd Hai Sing Catholic School,9 Pasir Ris Drive 6

Brilliant Color Centre & Trading, Blk 78 Redhill Lane #01-07

Hwa Chong Junior College Photographic Society, 661 Bukit Timah Rd Innova Junior College Photographic Society, 21 Champions Way

Grace Optical & Contact Lens Centre,Blk 105 Clementi Street 12 #01-04

Class Photo, Apollo Centre #01-01 Colour Junction, Tanglin Mall #B1-05

Digital Universe Pte Ltd, Blk 548 Woodlands Drive 44 #02-09

Hui Yi Collection & Colour Lab, Blk 280 Bukit Batok Ave 3 #01-327

Charming Colour Photo Lab, Taman Jurong Shopping Centre #01-09

Fotohub.com Pte Ltd, OUB Centre #03-01

Choice Photo & Gifts, Blk 283 Bukit Batok East Ave 3 #01-275

ITE Bukit Batok Photographic Club, 20 Bukit Batok St.21

Express Photo Services, Blk 41 Cambridge Road #01-24

I Photo Studio, Blk 399 Yung Sheng Road #01-57

Fotohub.com Pte Ltd, Suntec City Mall #02-050

Colour Collections, Blk 253 Chua Chu Kang Ave 1 #B1-18

ITE Dover Photographic Club, 20 Dover Drive

Mach Photo, Sembawang MRT Station #01-04

Impress Color Centre, Blk 960 Jurong West St. 92 #01-180

Good Eastmen Photo Finishing, Orchard Plaza #01-39

ITE Yishun Photographic Club, 20 Yishun Ave 9

Photopress, Causeway Point #B1-39

Mach Photo, Jurong Point #B1-29

Double One Colour Centre, Blk 442A Clementi Town Centre #01-47, Blk 328 Clementi Ave 2 #01-208, Blk 130 Jurong East St.13 #01-225

Standard Photo Pte Ltd, Causeway Point #01-13, Compass Point #B1-21, Junction 8 #B1-03

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Candid Photo, Hougang Point St.91 #01-K8 CyberActive Technology, Blk923 Yishun Central 1 #01-356

Ideamark,Golden Mile Complex #01-46 Instant Digital Services, OUB Building #01-00

Konica Photographic Club, Haw Par Technocentre #01-04

Filmmen, Blk 164 Bukit Merah Central #01-3629

Objectifs-Centre for Photography and Filmmaking, 12A Liang Seah St.

GS Studio & Photo Lab, Blk 491 Jurong West Ave1 #01-159

LASALLE-SIA College of the Arts, 90 Goodman Rd

KJ Colourlab, 8 Sixth Ave

Hui Yi Collection & Colour Lab, Gek Poh Shopping Centre #01-268

Max Photo Pte Ltd, 72 Pagoda St.

National Junior College Photographic Society, 37 Hillcrest Rd

Ideamark, Singapore Polytechnic FC5 Co-operative

MS Photo King, 146 Market St, Multi-Storey Carpark #01-15

Nature Photographic Society (Singapore), 1 Preston Rd

KC Ginza Lab & Studio, Ginza Plaza #01-58

Nan Chiau High School, 20 Anchorvale Link

Le Bans (S) Pte Ltd, Bukit Batok MRT Station #01-07

Nanyang Academy of Fine Arts, 38/ 80/ 151 Bencoolen St.

Nets Imaging Pte Ltd, Ikea Building #01-05

Nanyang Junior College Photographic Society, 128 Serangoon Ave 3

King's Express, Sim Lim Square #01-33

Pal s Color Centre, Blk 259A Bangkit Rd #01-217

Kingsley Colour Centre, Fook Hai Building #01-08

35MM Colour Lab Pte Ltd, Second Ave Junction #01-06

Photo Bugs, Blk 253 Jurong East St. 24 Ave 1 #01-217

Arspario Professional Labs, 9 Tai Thong Crescent

Photopress, Blk 57 Dawson Place, #01-08

Beautiful Memories Pte Ltd, Stamford House #01-02

Standard Photo Pte Ltd, Tiong Bahru Plaza #B1-04

Colour Junction, Tanglin Shopping Centre #01-11

Teck Whye Color Centre, Blk 144 Teck Whye Lane #01-213

Colourlab Photofinishing, The Adelphi #01-04

Zheng Hua Colour & Trading, Bt Panjang Plaza #01-08

Photo Finish, Bugis Junction #B1-16, Centrepoint #B1-13, City Link #B1-67, Forum Shopping Mall #B1-22, Ngee Ann City #B2-01

Dynamic Phototronics, Tanjong Pagar Plaza #01-52

Zoom Elite, Blk 492 Jurong West St. 41 #01-30

Photo Friend, Peninsula Plaza #01-46A

Patmos Photo & Gifts, Blk 21 Ghim Moh Rd #01-157

Fancy Photo, Bukit Timah Plaza #01-K32

Zoom Photo, Greenridge Shopping Centre #03-08

Photo Genie, Great World City #B1-13 Printstar Photo Specialists Pte Ltd, Capital Tower #01-03

Photo Finish, Anchorpoint #01-09, Bukit Panjang Plaza #01-01/02, Cold Storage Jelita #G-07, Holland Shopping Centre #01-05, IMM Building #01-100, King Albert Park #01-06, Jurong Point #B1-27, Tiong Bahru Plaza #B1-01/02

Rich Photo Gallery, Tanjong Pagar Plaza #01-36

Ong Brothers Pte Ltd, Blk118 Commonweath Crescent #01-27

Spot Color, Plaza Singapura #B2-12, Raffles Place MRT #B1-51

Photo Genie, Harbourfront Centre #02-114

That's Photo, Midpoint Orchard #01-03

Premium Image, The Village Centre #03-09

True Colors Photo & Services, The Concourse #01-40

Raffles Girls School Photographic Society, 20 Anderson Road

Railmall Colour Lab, Blk 283 Bukit Batok Ave 3 #01-275

Raffles Institution, 1 Raffles Institution Lane

Kim Tian Colour Centre, Hong Lim Complex #01-06

PP Digital Imaging, Far East Plaza #03-69

Kodak Express

Konota Department Store, Peninsula Plaza #01-26 Konota Digital Centre, International Plaza #01-07

NORTH

LC Plaza Photo Store, City Plaza #01-48

Nanyang Polytechnic, School of Design, 180 Ang Mo Kio Ave 8 Ngee Ann Polytechnic, 535 Clementi Rd NTU Photo-Videographic Society, Students Affair Office, Nanyang Ave NUS Photographic Society, Yusof Ishak House, 31 Kent Ridge Rd

Mach Photo, Blk 87 Marine Parade Central #01-501

AMK Colour Centre Pte Ltd, HDB Centre #01-30, Blk 253 Serangoon Central Drive #01-241

Meidi-Ya Photo & Camera Department, Liang Court Basement 1

AV Colour Lab, Blk 683 Hougang Avenue 8 #01-941

Photo Finish, Great World City #B1-18/19

CitiPhoto, Blk 101 Yishun Ave 5 #01-73

Professional Art Colour Centre, Blk 22 Havelock Rd #01-685

Color Zone Photo Finishing, Blk 292 Yishun St. 22 #01-263

EAST

Siren Colour Lab, Blk 961 Jurong West St. 91 #01-204

Raffles Junior College, 10 Bishan St.21

Shalom Colorlab, Bras Basah Complex #01-27

CPL Foto Services Pte Ltd, Blk 152 Serangoon North Ave 1 #01-336

3 Up Photo, Rivervale Mall #01-13

Speed Graphic Colour Lab, Blk 253 Jurong East St 24 #01-225

Republic Polytechnic, Tanglin Campus 1 Kay Siang Rd

88 Fastspeed Photo Svc, Blk 301 Ubi Ave 1#01-235

Spot Color, Jurong East MRT Station #01-11

SAFRA Photographic Club, 2 Telok Blangah Way

CPL Foto Services Pte Ltd, Blk 180 Toa Payoh Central #01-576

Apex Photo, Blk 735 Pasir Ris St. 72 #01-312

Style Photo, 2 Pandan Valley #01-207

Singapore Management University, 469 Bukit Timah Rd

CZ Colour Lab, Sun Plaza #B1-19

Bedok Photo Studio, Blk 89 Bedok North St. 4 #01-101

Vivid Photo Productions Centre, Blk 18 Toh Yi Drive #01-111

Singapore Polytechnic Photographers, 500 Dover Rd

Ed's Copying Lamination, Blk 208 Hougang St. 21 #01-201

Boon & Co Pte Ltd, Singapore Changi Airport Terminal 2

Exquisite Colour Centre, NTUC Hougang Mall #B1-04

Exquisite Colour Centre, 8 Tampines Central 1 #01-02

Exquisite Colour Centre, Revenue House #02-04

Foto Imperial, Blk 148 Potong Pasir Ave 1 #01-65

Soo Kee, Blk 166 Bukit Merah Central, Clifford Centre #01-02, Far East Plaza #03-64, Far East Shopping Centre #01-18, Suntec City Mall #01-177A Triple D Minilab Centre, Burlington Square #01-07

EAST 1st Image Colour Centre & Trading, Blk 198 Punggol Field #02-04

Foto Station, Blk 58 Marine Terrace #01-57

Lively Color Centre, Blk 532 Ang Mo Kio Ave 10 #01-2459

New Hua Pin Color Centre, Blk 632 Bedok Reservoir Rd #01-874

Friendly Color Centre, Blk 828A Tampines St. 81#01-156

Photo Finish, Causeway Point #B1-27/30, Hougang Point #02-07, Northpoint Shopping Centre #B1-14, Novena Square #01-32, United Square #B1-41/52

Paintbrush Colour Centre, Blk 303 Woodlands St. 31#01-203

Khoo Photo & Departmental Store, Blk 211A New Upper Changi Rd #01-771

Outstanding Color Centre, Blk 201C Tampines St. 21#01-17 Photo Finish, Singapore Changi Airport Terminal 1#B1-43B, Compass Point #B1-32, DBS Tampines Centre #01-05, Siglap Shopping Centre #01-13, Tampines Mart #01-11/12

PP Color Service, Sin Ming Tower 1 #01-09

Mach Photo, Blk 87 Marine Parade Centre #01-501, Singapore Post Centre #B1-06

Printstar Photo Specialists Pte Ltd, Khatib MRT Station #01-01

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SUPERSTORES CK Tangs,Tangs Technobay Level 3 Courts (Singapore) Limited, Ang Mo Kio, Causeway Point, Centrepoint, Compass Point, Funan The IT Mall, Jurong Point, Parkway Parade, Suntec City Mall, Tampines Mall, Tiong Bahru Plaza, Toa Payoh, Upper Bukit Timah, White Sands

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Francis Studio Classic, Peninsula Shopping Centre #01-20 George Photo, Blk1 Changi Village Rd #01-2000

In House Studio Professional Photo Service, 30 Bali Lane Jason Photo Studio, Blk19 Toh Yi Drive #01-123 John 3:16 Photo Supplies, Funan The IT Mall #03-37 Magnificient Snap, Marina Square #02-246 Memory World (S) Pte Ltd, Sim Lim Square #04-12, Funan The IT Mall #05-17 M S Color Service, Blk 711 Ang Mo Kio Central #01-3501C

Photomega Professional Lab & Trading, Blk 89 Bedok North Ave 4 #01-121

NextByte, Lucky Plaza #02-95

Success Photo Centre, Blk 538A Bedok North St 3 #01-577A

NTUC Testing Services, International Plaza #34-14

The Way Colour Centre & Services, Blk 631 Bedok Reservoir Rd #01-960, Blk 740 Bedok Reservoir Rd #01-3157

Parisilk Electronics & Computers Pte Ltd, 15A Lorong Liput ( Holland Village)

New Experience, Blk 80 Lorong Limau #02-195 Out of the Box Design & Photography, Millenia Walk #01-103

TPS Photo Centre, Blk 445 Pasir Ris Drive 6 #01-100

Pic And Pixel Singapore Pte Ltd, Funan The IT Mall #04-12/13

WEST

Photo Wonder Colour Centre, The Woodgrove #01-09

Lee & J Trading, Blk 133 Jurong East St 13 #01-303 Photo Mark, Blk 533 Choa Chu Kang Street 51 #01-31 Plus One Trading Enterprise, Blk 320 Clementi Ave 4 #01-19 Teban Lucky Bridal Colour Photo Centre, Blk 37 Teban Gardens Road #01-301 Yokohama Photo & Music Centre, 245 Holland Avenue

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EKO Asia Pacific, 64 Circular Rd #03-01

Photogenic Lab & Trading, Blk 54 Sims Drive #01-999

Kim Yong Photo Service Centre, Blk 302 Choa Chu Kang Ave 4 #01-715

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Kirei Colour Centre, Blk 25 New Upper Changi Road #01-624

Good View Photo Studio, Blk 106 Jln Bukit Merah #01-1870

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Divemasters Pratama Pte Ltd,Tan Boon Liat Building #09-07

Hotprint Pte Ltd, China Square Centre #01-38

Kaity Colour Centre, Blk 304 Ubi Ave 1 #01-123

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Convergent Systems (S) Pte Ltd, Sim Lim Square #06-12

Superior Photo Laboratory, Change Alley, Aerial Plaza 35

Hermist Colour Centre, Blk 1013 Geylang East Ave 2 #05-130

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Charlie Lim Photography, Blk 2 Alexandra Distripark #03-09

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APS Photo Centre, Blk 119 Aljunied Avenue 2 #01-K1

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Temasek Polytechnic, Visual Central, 21 Tampines Ave 1

Foto Fast Digital Centre, Midlink Plaza #01-10

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Temasek Junior College Photography Society, 22 Bedok South Rd

Chan Brothers Travel Pte Ltd, Fook Hai Building #07-01

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St Andrew s Junior College Photographic Society, 15 Francis Thomas Drive Swiss Cottage Secondary School, 3 Bukit Batok St.43

Focus Photo Enterprise, Blk 166 Woodlands St. 13 #01-543

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Digipro Imaging, Blk 58 Marine Terrace #01-45

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Anglo-Chinese Junior College Photographic Society,25 Dover Close East

Siren Photos, Blk 68 Geylang Bahru #01-3217

1st Lot Express, Lot 1 Shopper's Mall #B1-06

AMK Colour Centre Pte Ltd, Valley Point #0-13

Candid Photo, Lot 1 Shoppers Mall #B1-08

Sin Soonly Photo Express Trading, Blk 95 Aljunied Crescent #01-493

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Astro Imaging Centre Pte Ltd, Lakeside MRT Station #01-02

ACC Color Centre Pte Ltd, Blk 683 Hougang Ave 8 #01915, Blk152 Serangoon North Ave1 #01-302

Printstar Photo Specialists Pte Ltd, Tampines Mall #B1-31

Picture Me Digital Technology, Suntec City Mall #03-47/49 Pro-M Photo, Peninsula Plaza #02-62 Pro Photo, Plaza Singapura #04-13 Riceball Photography Bookstore, The Adelphi #04-17 RGB Color Pte Ltd, Premier Centre #01-01 Ruby Photo, Peninsula Shopping Centre #01-01 Sinvision Pte Ltd, Sim Lim Square #05-06 SingPost Post Office Bedok Central, Kent Ridge, Killiney Rd, Robinson Rd, Singapore Post Centre Standard Photo Pte Ltd, Millenia Walk #02-25B Tan Union Pte Ltd, People s Park Complex #02-111 The Camera Workshop, Peninsula Hotel Shopping Centre #01-31

Anderson Junior College, 4500 Ang Mo Kio Ave 8

T.K.Fototechnic, Shaw Towers #02-45

Anglican High Photographic Society, 600 Upper Changi Rd

Wow Studio Pte Ltd, Tan Boon Liat Building #04-06