Peter Flower

My thanks to all of you who expressed congratulations on the achievement of the Newsletter reaching its 100 mark. The personal statements of appreciation were very welcome. Whilst it is obvious that my efforts in producing one that balances the news of society activities and more general photographic world news is a successful formula one of the main aims of this publication is to report and reflect upon our own activities. Once again may I make an appeal. I am aware that members are involved in newsworthy activities beyond those of the society. Also, that they could be the source of interesting information about experiences with new equipment or photographic techniques. Many of these are only revealed if we have a '15 minutes of fame' style evening where members are invited to talk on a subject of their choice. Please realise that such snippets of information could be of interest to other members and have a chat to me on any topic that might be newsworthy.

The report submitted by Ian Hunt, which appears at the end of this Newsletter, is a welcome addition, and the sort of news that would be of interest to our readership.

Saturday Natter – Denbies Vineyard - 2 December 2017

Peter Flower

This was another well-attended meeting. At the far side of the round table from myself was Graham Diprose, talking to John Fisher and Allen Walley. Graham is not a member, but has given numerous talks to us in the past. Afterwards I asked John about their discussions. John explained - I see Graham from time to time and he came along for a coffee and to see what it was like. We chatted about a book I am doing and also Graham's latest project of archiving photographs for Oxford University. Allen Walley was a member until this year when he joined Epsom as it is easier for him. I see him from time to time. He was interested in the work Graham does with Felicia Simeon and also the books that he has written on photography.

I reported on one of Graham's talks in Newsletter 60 under the title 'London's Changing Riverscape and The New Basics' which is still available to view. His main topics were the photographing of a Thames river-scape, creation of large-scale joiner images and the use of specialised printing for archival purposes. I apologise for the poor quality of my image of the three during their discussions. It had not been intended as such, but they just happened to be in the background of a photograph taken during my own discussions with Jan Adcock on the subject of depth of field!

Photograph by Peter Flower

Jan was asking for some advice on close-up photography. During these discussions I had taken a number of shots with two cameras that I had with me. I was able top show her how the sensor size had an effect in limiting the difference in depth of field that could be achieved between fully open aperture and the smallest available. My Panasonic GX8 micro 4/3 camera could not achieve the depths-of-field that the small sensor on the Samsung Galaxy camera could. I am not normally in the habit of photographing my food (unlike, it seems, many visiting orientals, along with their selfies!) but the Samsung shots did illustrate the point.

Photographs by Peter Flower - Samsung Galaxy camera at f/8 and f/2.8

Jan, who uses a Canon DSLR camera, also expressed interest in the possibility of obtaining a compact camera. We were able to borrow the Panasonic TZ100 that Pete Welch had brought along and I was able to explain the advantages, and some of the shortcomings, of this sort of camera compared to her existing equipment. Models of this sort are owned by a number of members who value their compactness and light weight, but do not want to rely on the limited capabilities of their smartphones. Lester Hicks joined in this conversation. He owns a Panasonic TZ70 and his wife, Carol, has a TZ100 although she also uses a Canon DSLR for all her serious photography. Lester made the very good point that battery life could be a problem on the compact cameras. The small bodies tended to restrict the size of battery that could be contained. However, there was also the fact that these models, being mirrorless, relied totally upon battery power for the electronic displays, either rear screen or viewfinder, in addition to the requirements for power zooms and autofocus. This is a very valid point, and on a personal basis I always ensure that I have a spare battery.

On this subject, for anyone considering purchase of spare batteries I would issue a word of warning. If the battery is purchased from an internet source rather than a dealership there is a very good chance of buying a non-genuine item. I purchased a battery, via an Amazon source, for my Panasonic camera. When received it had all the appearance of the genuine item. On using it for the first time I noticed that the battery charge status did not show on the screen. I queried this with Panasonic who suggested that it was likely to be a bogus product. To cut a long story short, despite the protestations of the supplier I got my money back via Amazon.

Leica Digital-Modul-R camera

Peter Flower


In Newsletter 100 I reported upon the June 2003 Leica announcement of the development of a clip-on digital back that would turn the R9 (or its predecessor, the R8) from a film into a digital camera. After a two-year waiting period, the Digital-Modul-R (Leica order number 14439) finally became available in June 2005. I said that this concept, which looked attractive on paper, failed to live up to expectations and was fairly quickly dropped. This was the situation as I understood it at the time from reports in the media. Don Morley has written to explain the factual reason for this, and I am happy to put the record straight. As you will see it is a fascinating story, told by someone who was on the scene at the decisive moment which caused its demise.

Don Morley

Hi Peter

Congratulations and sincere thanks for the wonderful RPS Newsletters but I must take you to task regarding Leica just dropping the digital back for the R9. It was in fact brilliant and I wish other manufactures had bridged the gap likewise between the last of the film cameras into the digital age. Leica's effort seemingly was a big success BUT they had spent too much money developing the R9 which was the film camera it was intended to be fitted to, and hence were in big financial trouble.

The background was that Leica were a family owned and controlled company with Ernst Leitz passing control to his son Ernst Leitz Junior, who then passed it on to Ernst Leitz Junior the second. Most of the shares were owned by the many sons grandsons, daughters and grand daughters etc who had never got involved with the company other than for reaping the dividends. Then sadly Ernst Leitz Junior II died and not only did no one have control, but virtually every one of the shareholding family saw it as a chance to cash in via selling their shares.

Hence the asset strippers moved in and sold off such parts of the company as the still profitable microscope and hospital instrument division, and then the binocular and projector division etc. The less profitable camera company was sold to an upmarket travel case company. It moved out of Wetzlar altogether to a small factory in the nearby town of Solms, with most of the camera parts being made in Portugal, and with the Canadian factory also being closed down.

I used to visit Leica and much of central Wetzlar is dominated by big factory buildings which still say 'Leica' on them, but the old main factory is in fact the town hall now! Over to the far left is a much smaller factory block which is the first factory where Oscar Barnack designed and built the first Leica.

Photograph © Don Morley

Anyway back to the R9 and Digital back. I was actually visiting one day and being shown this set up, and what then was the VERY secret prototype of what would soon be the first Digital M model (M8) and although told not too I even quietly took a picture of the product development chief demonstrating both cameras. The Chief Product Development director Stefan Daniels is showing us the then very secret M8 prototype which of course was the first digital M. The other cameras include the R9 and digital back, and the massive larger than life print on the floor was from a fashion shoot where the photographer had used the R9 and DMR back, and believe me its quality was just stunning.

Photograph © Don Morley

Anyway, to cut a long story short the factory suddenly went very quiet and we looked out of the window to see all of the staff and workers filing out without knowing why. What was in fact happening, and completely unexpectedly, was a supplier had filed a debt report against the company and the German equivalent of The Official Receiver had just arrived and shut the entire company down without warning. It was he who then decided the company could continue on at least short term and with a skeleton staff, but they were only allowed to assemble and sell the M models and the entire R lens and camera range was dropped.

The R range and spares were sold off and it was hoped the R9 and digital back might continue in production by another manufacturer but it was not to be. Kodak also went bottoms up then and as they made the by then new M8 and the R-Digital sensors that ended the story. Manufacturers such as Sony or the Japanese would not supply them. In fact were it not for the later tie up with Panasonic to make Leica compacts I doubt if Leica would even be with us today.

Anyway, even though they cannot be repaired if they go wrong the R9 + Digital backs are in big demand to this day.

Notes: Peter Flower

A search on ebay (as at 7 December) revealed an offer of a Leica R9 complete with Digital-Modul-R in EX++ condition at a buy now price of US $3112 (from Hong Kong), which had been previously priced at $3890.

It should be said that although this digital adapter fitted a 35mm camera the need for the sensor to fit within the frame outline intended for film required that this should give less than a 'full-frame' image. This also meant that the view as seen in the optical viewfinder was not the same as the recorded image.

Don has also supplied the following photographs, of the yellow house where Oskar Barnack lived, some street views taken by Don that replicate the first 1920's test shots on the first prototype Leica, and the stone in the memorial garden dedicated to Barnack.

© Don Morley

The following images are of the brand new Leica HQ and one of the first photographs taken by Oskar Barnack with his prototype 35mm camera.

Silicon Film

Peter Flower

Leica, with its R8 and R9 digital conversion kit, was not the first company to venture into a project of this sort. This is the story of one which preceded it by several years. In order to put this story into context it is important to recall the state of digital camera introduction 20 years ago. We were in the very early years of the availability of digital cameras. In 1997 virtually all of them were what we now regard as compact cameras, with either a fixed focal length lens or maybe up to 3x zoom. The majority had one megapixel CCD sensors or even smaller (say, 640x480) and maximum of 100 ISO. It was not until the following year that Kodak introduced two cameras that increased performance above this level. These were cameras based on existing film SLRs. In July 1998 Kodak introduced the DCS315, based on an existing Nikon camera with its F mount lens. This had a 2 megapixel CCD sensor (1520x1008) with the options of 100, 200 or 400 ISO. In September of the same year Kodak introduced the DCS560 based on a Canon SLR with 6 Megapixel CCD sensor (3040x2008), 80 or 200 ISO and with the Canon EF lens mount. These were bulky cameras, as can be seen from the images below.

Kodak DCS315 (Nikon based) Kodak DCS560 (Canon based)

Against this backdrop the announcement in 1998 of a product that could convert an existing 35mm film camera into one that could take digital images aroused great interest. Announcements of a potential product that could enable this came from a company called Imagek which subsequently changed its name to Silicon Film. In September 1999 there was a report on the DPReview site providing specific details of the new product. This confirmed that a 24 shot insertable digital film cartridge, with 1280 x 1024 resolution, would become available. There would be the addition of their "e-Port" PCMCIA adapter and "e-Box" in-the-field storage device (which supported CompactFlash Type I & II). The announcement stated that the price for the for complete EFS-1 solution would be $800. The Silicon Film web site stated that product availability was expected following the completion of product testing, field testing and agency certification of EFS-1, planned to be completed in the fall, 2000. The following images show how this works. It will be seen that the cartridge inserts into the space normally occupied by the film cartridge at one end.

The important thing to bear in mind is that the images were recorded on an internal memory, hence the limit of 24 shots, which then had to be downloaded via the E-Box into a computer or to a CompactFlash card. It is also notable that the digital cartridge contained a 1.3 megapixel CMOS sensor at a time when most sensors were of the CCD type. The main limitation was that the relatively small 1.3 megapixel CMOS sensor covered only about 30% of the centre of the frame. This meant that when looking through the viewfinder you had a small field of view (marked out by a supplied rub-on transfer) which equated to a 2.58x focal length multiplier. Thus a 28mm lens became equivalent to 72mm. When first openly demonstrated at the February 2001 PMA show it only currently supported certain camera models - Nikon F5, F3, N60/N90 and Canon EOS-1N, EOS-A2, EOS-5.

On 7 May 2001 Silicon Film Technologies stated that it was accepting orders for their EFS-1 Electronic Film System. It was designed to fit into the film compartment of select 35mm SLR cameras and allow the user to capture digital images with no modification to the camera. Deliveries were expected to start in 6 to 8 weeks. However, this was followed shortly by an announcement on 17 September 2001 from Irvine Sensors, a 51% share holder of Silicon Film, which stated that it was suspending operations at Silicon Film.

Sadly, this product which had appeared so attractive in concept had fatal flaws which led to its demise. The delayed introduction of the product raised questions about its viability in a market which was witnessing significant advances by conventional digital cameras. The small sensor size, also limited to 1.3 megapixels, did not make sense in a market which had now moved on. Even the most basic compact digital cameras were boasting between 2 and 5 megapixels. The lack of a screen to show the pictures captured was also a disappointment to potential users. The limited image capture capacity and the crude method of saving these by the transfer method used was also a downside.

Despite this failure Silicon Film attempted to bounce back. Prior to Photokina 2002 there were rumours of further products in the pipeline – an EFS4-SF model with 4.2 megapixel sensor and an EFS10-SF with10Mp (3875x2625) sensor, both with small LCD colour screens and CF cards for storage. The following image shows how the EFS10-SF looked, but don't expect to see one available on ebay!

The concept has not gone away!

Peter Flower

A search on the internet shows that many other attempts have been made to realise the possibility of creating a digital hybrid from film camera models. However, what seems to have been totally ignored in respect of 35mm camera conversions is the successful example made for medium format cameras. If you think for one moment about a single-lens reflex camera such as the Hasselblad it will be realised that this consists of three components – lens, body and film cassette unit. Replacing the film unit with one containing a digital sensor and associated electronics is relatively straight-forward. There is the additional benefit that the changeover can be done at any time, not possible on the 35mm camera when the film is partially exposed, thus wasting film.

Individual photographers have fabricated conversions, using sensors and electronics from one camera to fudge onto the back of an existing film body. There are also examples, like the ones illustrated below, that purport to be serious production proposals based on Canon cameras. However, they were never seen, and the web articles supporting them have to be regarded as highly suspect.

There was a suggestion that the Canon AE-1 Program Digital body in fact enclosed a Powershot SD 870 IS camera and that the AE-1 had a plain glass 'lens' so as not to affect the PowerShot’s focus within! This might explain why the illustration was from the rear of the camera.

In December 2012 the web site Nikon Rumours reported on a Nikon patent (2012-242615) filed in Japan on 19 May 2011 for a digital back that would transform a 35mm film SLR camera into a DSLR. Needless to say, this idea did not come to fruition.

At the present time there is yet another proposal, backed by a Kickstarter campaign, to produce a digital back for many existing film cameras. This is -

I'm Back

As can be seen from these images the digital back bolts onto the existing camera body. In order to meet the specific requirements of different camera bodies the positioning of the sensor can be adjusted. The image is then saved onto an SD card and can be viewed on the LCD display or attached smartphone. It is capable of shooting UHD video (2880px x 2160px) at 24 fps, and 1080p video at 60 fps. Photos will recorded via the 16-megapixel sensor. A number of old cameras are compatible, including the Nikon F series, Minolta Maxxum 7000, Olympus OM10, Pentax cameras, and Praktica B200. To check compatibility it is necessary to check if the camera has a tripod hole, a Bulb setting, Sync Flash compatibility and the ability to continue functioning with the back door open or removed. Specific details are sparse, but it would seem that an electronic shutter is used (hence the bulb setting to keep the normal shutter open) and that the flash is used to trigger this. What is most exceptional is the ability to capture images at 60 fps in an old camera that was probably limited to 2 fps in its original form! If you want to entertain yourself while you have a cup of coffee you can read about this and view a couple of brief videos on the subject at the following address -


Looking Back

Peter Flower

In Newsletter 100 I took a nostalgic look back at the history of magazines and online newsletters that I had been involved with, recording society events and documenting progress in photography. This is a feature that I intend to keep, with interesting items from the past.

For a very long time all of the society's literature carried the image of the following logo -

This depicted the photographer inspecting the screen of a large plate camera, mounted on a sturdy wooden tripod, and holding an open flash tray. Hardly the image of the society in the new millennium! Thanks are due to the graphics design expertise of Les Dyson for providing us with the new logo, followed by the snazzy new banner to head each edition of the Focal Points newsletter which was first used in July 2012.

Macro Photography-Out Of The Ordinary – 11 December 2017 – Colleen Slater ARPS

Report by Peter Flower

Colleen Slater is a professional, freelance nature and portrait photographer with a background in fine art painting, She has lived in Brighton since 1978 and been working as a photographer since 2006. Her particular interest is in macro photography which was the main subject of the evening's talk. However, as the full title of the talk suggested, we were to be entertained with some unusual imagery rather than just an explanation of how this is achieved. We have had talks before on the techniques that are necessary to capture the detailed images of small subjects, but Colleen accompanied the details of her own method of working, and equipment used, with her collection of stunningly beautiful photographs.

The first collection of projected images, many of which were also displayed on our large print easel, were of flowers that had been submerged in water. These showed the influence of her interest in fine art. Colleen explained that she had obtained a fish tank into which she placed a variety of flowers. The resulting images showed bubbles around the edges of flowers or leaves, resulting either from air trapped when they were immersed or when the plants breathed. White cloth below the fish tank and as a background, together with normal daylight, provided ideal lighting for her subjects. She was questioned about potential problems with reflections from the glass, but explained that providing the lens was square on and close these did not show. The photographs in this project were taken with a basic camera in the Canon range, an EOS 350D fitted with a 100mm macro lens. This had no live view, unlike subsequent cameras that she used which made evaluation of focusing accuracy much easier. An early problem encountered was that the flowers floated to the surface. This was solved by anchoring the plants to a base, weighed down by coins Blu-tacked to the surface! Other aids included sweet wrappers, used as colour gels, and a focusing rail added to her tripod. Using mirror lock-up and remote release ensured lack of vibration spoiling the images. Checks would be made by transferring images to her computer during the session. Some of the stunningly beautiful images are shown in the following collages.

© Colleen Slater      Hollyhock and Gerbera

© Colleen Slater         Chrysanthemums and Gerbera

The lower images in this collage, of the Gerbera, show an example of how the the bubbles act like small lenses. I have cropped and enlarged a central section of the image which clearly shows a daisy in the background.

Colleen had brought along her current camera, Canon EOS 5D Mk.4, complete with the EF 100mm f/2.8 macro USM lens, specialist macro flash system, a white umbrella on a tripod, and various other accessories which she used for her outside photography. She explained to me that she had progressed from the 350D, on to a 5D Mk.2 and an EOS 7D before settling on her current camera. These had progressively provided her with the live view capability and other advantages as technology improved. Live view, with the ability to enlarge the image to check accurate focus was a feature that she used.

In comparison with the very controlled set-up of her indoor photography very different techniques were required when in the open. Most challenging were the photographs of bees, butterflies and insects which tended to be restless and easily disturbed. She raised a laugh from the audience when she reminded us of the unpredictable movement of bees as they flitted from flower to flower. We have all experienced this frustration! However, this was not always the case, as illustrated by Colleen's sequence of a bee doing some self-grooming.

© Colleen Slater

It was explained that field-craft played a large part in her success. She had joined a butterfly conservation group from which she had gained valuable knowledge. Also, it was found that by sitting quietly for a while it was much easier to spot any nearby movement.

Another amusing episode concerned her efforts to photograph a Green Leafhopper. This a camera-shy creature that deliberately attempts to hide itself behind the stem it is on. As you move around it does the same. However, Colleen defeated this strategy by moving her hand to one side whilst keeping the camera static. As can be seen, this was successful.

© Colleen Slater

The following two collages show some more of Colleen's photographs.

© Colleen Slater   Four-spotted Chaser Dragonfly, Marbled White Butterfly, Red Soldier Beetle and two photos of Meadow Grasshopper

© Colleen Slater    Drinker Moth Caterpillar, White-legged Damselfly, Mayfly, Pond Skater, Small White Butterfly on Pieris and Little Skipper Butterfly

Moving on to plants and flowers, we were shown many examples of how attractive these could be when photographed close-up and, more importantly, from the right level. This might include lying prone on the ground but this was an acceptable penalty for a perfectionist like Colleen! Two close-ups of moss and an Orange Cowslip, taken using this method, are in the next collage.

© Colleen Slater

As with any photograph of a detailed foreground subject it was important to avoid a confusing background. The adoption of a low viewpoint, using the blue sky as a backdrop, was one way of achieving this. It could also be possible to drape scrim-like material behind the flower or plant.

© Colleen Slater      Tree Leaf Bud Summer Snowflake

There were many examples of shots taken very close-up to show fine details, but also others which would not necessarily require a macro lens. These contrasts are shown in the following photographs - the interior of an Azalia and beautifully backlit beech leaves.

© Colleen Slater

As mentioned before, Colleen had brought along examples of the sort of equipment that she used. She stressed the importance of lighting. Especially with plants, where time could be taken in setting up, diffused and well-balanced light was preferable. The use of the white umbrella or a hand-held diffuser could achieve this. Strong back-lighting could be counteracted with a reflector, or even a mirror propped up facing the subject. In some circumstances the natural lighting would be inadequate, in which case the macro flash units came into action. These were generally balanced either side of the lens (avoiding the shadow effect that would come from a conventional body-mounted flash unit) The units would normally be attached directly to the front of the lens, but Colleen showed one mounted on a flexible extension arm which allowed greater control over the direction and balance of lighting. The light could also be softened with the use of diffusers.

As regards the requirements for macro photography, Colleen explained that it was also possible to use normal lenses with adaption. Extension tubes could be used, which enabled the lens to focus much closer than normal. The image quality should not be affected, but the set aperture would. An alternative could be the use of so-called close-up filters (actual lenses) that screwed onto the front of the lens, enabling closer focus. Being simple lenses, and introducing an additional element, was likely to lead to a loss of image quality. However, as this would be at its most noticeable at the periphery of the image it might not be significant. She said that, due to limitations on flight luggage weight, she would often take a 50mm lens with extension tubes when she travelled. As a final comment on the subject of equipment she mentioned a Canon MP-E 65 macro lens that she had borrowed and the Helicon FB Tube, recently purchased, that enabled her to use focus stacking of images to overcome depth-of-field problems. These are dealt with in a separate explanation of the technology involved.

The final part of Colleen's talk was on the totally different subject of a project which had been undertaken in Brighton, entitled 'Tides'. This involved the taking of images on and around the Brighton beach area,such as items discarded, details on boats and the changing blurred images seen through a phone box.

© Colleen Slater

Summing up, this was a talk which was successful on two levels. Not only did it provide a comprehensive and easily understood explanation of the techniques required, but also a wealth of superb imagery. Colleen provide us with an excellent evening's entertainment.

Further examples of Colleen's photographs can be viewed on her web site -


Macro Photography – the technical stuff

Peter Flower

The Canon MP-E 65mm Macro f/2.8 is a photographic lens that was released in September 1999 for use on the EOS photographic system. It is a lens for the EF mount and is specifically designed for macro photography. It is able to provide settings between 1:1 and 1:5 images and can only be used in a very close-up situation. (Unlike conventional macro lenses that retain the ability to focus out to infinity) The problem with using this lens, especially at the 1:5 ratio setting, is that focus is incredibly difficult to achieve. It really requires the use of a tripod fitted with a macro focus rail. The other problem is that as the lens extends the effective f-stop reduces, lessening the amount of light. Because the lens extends as it goes from its 'closed' 1:1 setting out to 1:5 it roughly doubles in length, making it very unwieldy.

I can vouch for the difficulties of using this lens. In February 2010 we ran a Macro Evening event, organised by Steve Lawrenson. After showing some of his equipment used for this purpose and explanation of the techniques required members were able to experiment with photography of a number of table-top setups. In addition to their own equipment we had available a couple of macro lenses on loan from Canon. These were a conventional 60mm macro lens and the very special MP-E65. The images below show the difference that this lens can make. They are of the heads of miniature 'paper' flowers in a small pot, designed to be placed into a doll's house. The petals are about 10 mm tall. The first image was taken by Marion Gatland using a Canon EOS 400D camera and her own 90mm Canon macro lens. The second was taken by myself using a Canon EOS 350D camera and the MP-E65 lens. I'm don't think that it was at its ultimate magnification, but the difference is obviously very significant.

Interestingly, we had another talk on the subject of macro photography on 26 September 2016. The speaker, Johan J Ingles-Le Noble, had also used a Canon MP-E65 lens. Coincidentally, he had also experienced the same problem with a shy Green Leafhopper! His principal form of macro technology involved dead insects. If you are interested you can read my report in Newsletter 86. In that article you can also read about the technique of focus stacking. Johan mentioned the use of 'Zerene' software to achieve the ultimate image. Colleen commented that she had also used this application.

The other product mentioned by Colleen was a device, costing about £200, that fits between the camera body and lens to automate the process of making the micro adjustments in focus between successive shots. Colleen showed this fitted to her camera. I later asked her for details of this, which she explained. Helicon FB Tube is an extension tube with integrated electronic micro-controller designed to enable automated focus bracketing in single or continuous shooting modes. Mounted on the camera in the same way as a usual macro extension tube, Helicon FB Tube automatically shifts the focus by one step with each shot thus producing a stack of images of unlimited length that can be rendered into a fully-focused image. It needs no additional hardware apart from conventional cameras and lenses. Helicon FB Tube has no optics and does not affect image quality. The Tube settings are configured through an additional application for Win, Mac OS, Android or iOS devices. Currently it is only available for Canon DSLRs or Nikon DSLRs. Colleen commented that she had downloaded a 30 day trial of Helicon Focus stacking software but hadn't paid for a permanent license as yet.

Arts Society Photographic Exhibition

Report by Ian Hunt

To celebrate 50 years of the formation and what is now the 'Arts Society' (previously NADFAS), Reigate Group decided to mount a Photographic Exhibition as their contribution. The group has around 700 members. 'Reigate' was the theme and took place at Woodhatch Baptist Church at the November 2017 meeting. Open only to current members and limited to three images each, the exhibition consisted of A4 size prints mounted on display boards kindly loaned by Reigate Photographic society. The most popular three 'Reigate' images chosen will now be enlarged and go forward to Arts Society HQ in 2018. These will be for the Golden Anniversary National Exhibition (ARTSFEST) of the best work by 'Arts Society' members from all over the UK.

Among the three most voted for images submitted by Arts Society Reigate will be 'West Street, Reigate October 2016' by myself.

© Ian Hunt

Getting the same weather two days in succession was lucky. I was travelling through Reigate towards Dorking in my car and stopped at the traffic lights on the London Road/West Street junction. The golden foliage of the tree opposite was not only dazzling but was also ready to fall sometime soon. I noted the time and went back the following day on foot to shoot some photos of the scene. My polarising filter enhanced an already superb sky.

And finally . . . . . .