Dateline 25 September 2014


Fifteen Minutes of Fame – 1 September 2014 – Seven Members


On the opening meeting of the new season seven members gave short talks on subjects of their choosing.

Don Morley is best known for his sports photography and he did show some photographs of the incident at the 1972 Munich Summer Olympic Games when a Palestinian group called Black September took 11 members of the Israeli Olympic team hostage and eventually killed them. He also covered many areas of conflict during his career and most of the photographs that he showed came from his coverage of the Aden conflict which took place between 1963 and 1967. An excellent first-hand account of this can be found at

Some of Don's photographs are shown below -

© All these photographs are copyright of Don Morley


 The photographs show a bearded Don with British troops in Aden and the room where a shell went through over his bed without exploding, and without waking Don!

Ray Algar then gave a brief talk to explain the rules for submission of PDI (Projected Digital Images) entries for competitions. The standards were governed by SPA in order to ensure uniformity between clubs in the association and to conform to the limitations of existing digital projectors. Ray explained that he would be available at the forthcoming 'Round Table' event on 15 September to deal with individual queries, especially from newer members.

 Jose Vazquez dealt with the subject of 'Learning to shoot', how he had progressed from taking very amateurish photographs in early days. His images showed the improvements in technique, learning to get the best results from his digital D70 camera.

 Les Dyson gave an amusing talk on the subject of 'selfies' and identity photographs. This had been triggered by the suggestion that we should all provide passport-style photographs to be placed on a board so that members could identify names to faces. Needless to say, the range of personal photographs that Les showed were not only amusing but also more likely to ensure that he could not be recognised! Some samples are shown below -


Lester Hicks showed the results of a holiday in Scotland. However, quite apart from showing some beautiful Scottish scenery the principal aim of his talk was to concentrate on the fascinating geology of the area. His research and the images that he showed gave an interesting insight into the processes that had lead to the formation of this landscape. In particular, it was fascinating to hear of the way in which, in certain areas, older rock formations appeared above much younger ones.

Marion Gatland is a regular visitor to Cornwall. Her latest holiday there coincided with a quirky surf-boarding event. People taking part dress up in all sorts of weird and fancy costumes, many of which obviously hamper the surfing performance.



Peter Flower told everyone, tongue-in-cheek, that 'You're doing it all wrong!' This was based on a light-hearted comment about the amount of heavy camera kit that many carry around with them. After demonstrating the typical outfit, complete with heavy DSLR, spare body, lenses, flash-gun etc in a huge shoulder bag, plus tripod, he then produced a GoPro miniature camera and Samsung Galaxy camera from his trouser pockets. These, plus a 10” tablet and monopod, could comprise his total kit for walk-around photography. The important point was that each of these devices could take a photograph in its own right, but also be controlled remotely by one of the others. The following photos show the tablet being used as a modern view camera on Brockham Green and image from a remotely-controlled GoPro.


Felicia Simion “In Conversation” with Graham Diprose and Composition - 8 September 2014

Report by Peter Flower

This evening's event could have warranted a title of 'And now for something completely different' or 'Two for the price of one'. It was certainly different from the normal talk format and we were presented with input from two speakers. In the first half Graham showed a series of images that Felicia had produced from 2006, when she was aged thirteen, up to the present time. They were both seated to the side of the screen and as he presented the images, which he had chosen, he invited Felicia to comment on her motivation and the methods that she used.

It should be explained that Felicia comes from Romania. When she was 5 or 6 her parents would ask her to take pictures during their trips. She remembered being fascinated with the cheap plastic film camera, with all the chromatic aberrations and grainy surfaces. From those early beginnings she developed her interest in photography. She has been entirely self taught, both in photography and Photoshop, but is now in her first year of studying for a 3 year BA Photography at Bucharest University of the Arts.

Graham explained how he had come to know Felicia and to appreciate the quality of her work. A couple of years ago one of his former alumni 'shared' one of her images on Facebook and it was so stunningly good that it prompted him to write a comment on it. At the time he knew nothing about her but having agreed to 'friend' her an amazing series of images began to appear online, 2-3 times per week. Subsequently a friendship had built up and at the present time he had organised an exhibition of her work, currently showing, which explained her presence in England.

The early series of Felicia's photographs were shown in order of their taking from the age of 13 onwards. It was immediately obvious that these did not conform to a convention that one might expect from the average teenager. They had a mystic quality to them and as Felicia explained the motivation for their creation it became obvious that she thought very much about the final image that she wanted. Each one started with a pre-planned image in her mind rather than being a mere snapshot. They were certainly very different from the typical images that we are used to seeing on a regular basis. Many of them were manipulated by photo editing, sometimes combining more than one original image. However, in more recent times Felicia has also branched out into fashion photography. Whilst these images still tend to have the stamp of her personality in them it has to be said that they stand comparison with that of the best professionals.

Certainly, her work of any genre has been extremely successful and she has won numerous competitions and had her work published. As a measure of her determination and competitiveness it is worth mentioning an incident that she told us about on the evening. She wanted a new camera. She researched and found that there was a competition with the top prize of a Canon 7D camera. She entered the competition and won!

Some of her images are shown below. However, to obtain a more comprehensive picture of her work I recommend a visit to her web site -



 © All the above images in this article are copyright of Felicia Simion


After the break Graham took centre-stage with discussion of Composition. This included several of the topics covered in his book 'Photography:The New Basics'. Many of the basics will be familiar to experienced members but it is no bad thing to be reminded of these from time to time. We should all know about the Golden Section, or Rule of Thirds, lead-in lines, S-curves and triangles (usually with a level bottom line!) so it is not relevant in this report to attempt to cover these in detail. However, the following images illustrate just a few points about composition and technique that were included in Graham's talk. The images are from some of his students.

Lines that lead into the corner of the picture are generally well regarded. The following photograph illustrates a subtle variation on this idea. The upper and lower lines of the fence do not actually go to the left-hand corners, but by letting the eye follow the direction on, imagining the continuation, it is found that they do indeed meet the corners.

© The image is Vineyard by Nadia Elpis



An interesting technique is illustrated in the following photograph. It is a daytime shot using flash. There is some expense involved – a box of Quality Street chocolates! But it's not all bad news - you can eat the chocolates! However, you must save the appropriately coloured cellophane wrapper. This is placed over the flash-gun so that it emits the coloured light. The set-up is to ensure that your principal subject matter is closer to the camera than the background. The result will be, as seen, a very colourful foreground subject against a naturally coloured background. (This is because the flash power will be insufficient to affect the more distant objects)

© Quality Street Sweetie Flash by Julia Svetlova


Graham has used the technique of creating large digital images for some of his projects by using multiple shots which are then combined with computer editing. In his case he has used digital cameras which already capture large megapixel count images. This goes beyond the concept of a simple panorama, with a single sweep of images. This involves a matrix of images, say 3 wide by 2 deep, in order to give a really high definition total image. This technique was used in the following image, taken by a student. In this case a very humble digital camera was used but by following the same method he wound up with a very impressive, large framed image for his wall which is admired by all who see it.

© Hampton Court by John Myers



Note: Graham last visited us on 31 March 2014 and my report on this was published in the Focal Points Newsletter No. 60 of 7 May 2014. This gives details of some of the techniques he used for creating large and panoramic images.

Summing up, this was a highly entertaining and interesting evening, with a great variety of contrasting images to view.


Sony announcements


We reported on the introduction of the QX10 and QX100 in September 2013, two new models from Sony that clipped to smartphones in order to record the photographs that were taken. The QX10 used a 1/2.3" sensor whilst the QX100 had the newly-available Sony 1” sensor. Just a year later Sony has introduced two similar models that take this concept a stage further. The QX30 has the same sized sensor as the QX10 but the QX1 has a much more advanced design that allows the use of existing E-mount lenses. As will be seen from the following images the QX1 camera consists of an intermediate device which sandwiches between the phone and lens. It will also be seen that the barrel-shaped camera incorporates a pop-up flash unit!

 The specification for the QX1 includes compatibility with Sony E-mount lenses, APS-C sensor type with 20.1 megapixels, ISO sensitivity range of 100 – 16000 and a battery life of up to 440 shots.

The Sony QX30 (shown below) has a 30x optical zoom lens, 1/2.3" type CMOS sensor with 20.4 megapixels, ISO sensitivity range of 80 - 12800 and battery life up to 200 shots.


Sony has also announced a new E-mount lens, the FE PZ 28-135mm F4 G OSS, which is the world’s first interchangeable 35mm full frame digital lens with power zoom capability. Ideally suited to cameras such as the Sony A7 and A7S, the new lens has three separate rings offering independent control over focus, zoom and aperture, with optimal torque for a satisfyingly responsive and professional feel. It retains the maximum aperture setting of f/4.0 throughout the zoom range. The lens can also be fitted to any E-mount APS-C model camera, where it will offer an equivalent focal range of 42-202.5mm. It is due for release on December 23, 2014.


Canon lens production milestone


Canon recently announced that it has now produced 100 million EF series lenses worldwide. To mark the occasion it is offering some of its EF lenses at new prices. The EF (Electro-Focus) lens and subsequent variations like the EF-S (for APS-C digital models) was introduced in March 1987 with the Canon EOS 650 (35mm film) camera. This new lens range with electronic connections offered the potential for autofocus and control of aperture from the camera. It replaced the FD range of lenses that were manually focused and relied upon mechanical connection between camera and lens. A measure of the variety of Canon lenses can be gained from the following 'group' picture of EOS cameras and EF lenses.


Although we associate EF series lenses with all the current Canon digital SLR style cameras it is notable that they were used for some considerable time with 35mm film cameras. It was not until July 1995 that the first Digital EOS camera (the DCS 3 model) was introduced This came with a 1.3 megapixel CCD sensor and as can be seen from the following picture was essentially an EOS-1 body bolted on top of a bulky electronic unit provided by Kodak.



Trends emerge at Photokina


Apart from new models in the conventional DSLR range by Canon (EOS 7D Mk. 2) and Nikon (D750) the most interesting announcements have been about cameras that have larger sensors in compact bodies. For some time this segment has been largely dominated by Sony (APS-C and 1”), Olympus and Panasonic (M4/3), Samsung (APS-C and 1”), Nikon (1”) and Fuji (APS-C). Sony largely led the way with the extremely compact NEX series in showing just how small bodies could be made even with the APS-C sensor which was the largest in this grouping.

Since introducing the 1 Series range Nikon appears not to have made any great impact or shown any intention to extend the range significantly. Canon cautiously dipped its toe into the water with the G1 X (March 2012) and G1 X Mk. 2 (February 2014) which had a 1.5” sensor (a slightly smaller version of Canon's APS-C sensor) and the EOS M (July 2012) that had a conventional APS-C sensor but was a mirror-less design. Now Canon has introduced a more compact model with a 1” sensor – the G7 X – that looks like a successor for the Powershot G16, the latest in the line of compact cameras of the G range that started with the G1 in September 2000. The G16 featured a 1/1.7” sensor, comparable to that in the Panasonic LX7. Although both were compact cameras they were highly regarded for their image quality and range of controls.

Announced on the opening day of Photokina were the Canon G7 X and two direct competitors from Panasonic, the LX100 and GM5. Although very different in features these three models will liven up the competition in the CSC mirror-less segment of the market. The Panasonic models both feature a 4/3 sensor, but whilst the LX100 has a fixed lens (24-75mm, f/1.7-2.8 maximum aperture) the GM5 fits exchangeable lenses. Both have fixed rear viewing screens and an electronic viewfinder. The Canon G7 X most closely matches the LX100 in that it also has a fixed lens, but with a slightly longer equivalent zoom range of 24-100mm and maximum apertures of f/1.8-2.8). The smaller sensor (interestingly, not a Canon-built one) and lack of viewfinder in the Canon also relates to a lower initial recommended price.

Images of the three cameras are shown below.


The cross-over between camera and smartphone took another step with an announcement from Panasonic. Samsung already has its Galaxy K Zoom phone (which won the EISA Award - 2014/15 Smartphone Camera Best Product) featuring a 10 times zoom, equivalent to 24-240mm, and a 20.7 megapixels sensor. Where the Lumix DMC-CM1 raises the standard is by coming with the largest imaging sensor yet seen in a smartphone. Its 1" 20 megapixel chip is the same sensor already in premium compact cameras such as Sony's RX100, the Nikon 1 series and Panasonic's newly-introduced FZ1000. It is about seven times larger than most sensors on existing smartphones. It also has an f/2.8 Leica lens that offers an equivalent focal length of 28mm. This is by far the best camera specification on any smartphone. In addition to the capability to record 4K-video and Raw images, focus, aperture, shutter speed, ISO and white balance can all be adjusted manually. Although there is no zoom facility, as on the Galaxy K Zoom, the ability to crop images (giving a zoom effect) should give much better results than on other smartphones. The CM1 has a large 4.7-inch 1080p display and Android 4.4 OS plus the ability to take external micro SD cards of up to 128GB capacity.



In a separate item I reported on the Sony QX1 and QX30 that are used in conjunction with smartphones. It would seem that this concept is catching the attention of another camera maker. Olympus showed off a prototype of its "Open Platform" camera module which has been designed in collaboration with the MIT Media Lab. It would appear that the device is very much at the prototype stage, as no detailed specifications were available. However, it would contain a 4/3 sensor and be controlled from a smartphone in the same way as the Sony devices.


Images courtesy of Olympus and Digital Review Connect


Fujifilm is a company that has built respected status, and market share, with its range of fixed and exchangeable lens camera in the compact sector. It is ironic to think that it once competed in the film market with the leader, Kodak, who were innovators in the development of digital sensors for inclusion in cameras. Where are Kodak today?

Fuji announced new cameras and a number of technological advances at Photokina. A new X30 model was introduced. This has a slightly larger sensor (2/3”) than most compact cameras. This is also of their own X-Trans design (where the colour filters are arranged differently to the standard Bayer layout) but also includes BSI technology. (Refer to a later item for explanation of BSI technology) The comparison with other sensor sizes is illustrated in the image by Fuji -


An X-T1 Graphite Silver Edition model was also announced which featured a very attractive external finish, but also introduced some important technical improvements including an electronic shutter. This is both silent and allows shutter speeds down to 1/32,000th second.

There are other new features, but the important news for existing X-T1 owners is that all of these, including any that are introduced before the release date of the Graphite Edition in November/December 2014, will be available by firmware update.

The other principal announcement was for the new Fuji X100T model. This includes a clever hybrid optical and electronic viewfinder. When manual focusing whilst using the optical view the focus area is enlarged and displayed in the bottom right of the viewfinder. Part of the original optical image is blocked and then the digital EVF display is projected in the resulting space. Real-time parallax correction has also been added for more accurate framing. A whole series of improvements have been incorporated to features previously found in the original X100 of September 2010 and the X100S of July 2013.

Samsung introduced its top model in the NX range of cameras at Photokina. The company has gradually introduced increasingly advanced models in this range which covers both compact designs and SLR-style models. Their marketing plan showed an intention to build towards ever more capable models. Following the release of the NX30 (which was featured in a previous report) the apex has now been reached with the NX1. Whereas previous models have generally featured 20 megapixel APS-C sensors Samsung has managed to create an APS-C sized 28 megapixel CMOS sensor that is backside illuminated. (The significance of this is explained in a following item) Significant features of the NX1 include a magnesium alloy body with top-plate LCD information display, hybrid autofocus system with 205 phase-detect points covering 90% of the frame, 15 fps burst shooting with continuous autofocus, 3” tilting Super AMOLED touch-screen display, 2.36 million dot electronic viewfinder, built-in 802.11ac Wi-Fi and Bluetooth USB3 interface and ability to record 4K video. The inclusion of the BSI sensor with the highest pixel count on an APS-C sized one and the advanced on-sensor phase detection system indicates the intention of Samsung to compete strongly with the best APS-C models on the market.



BSI (Back Side Illumination) - BSI sensors move all the circuitry behind the light-capturing part of the sensor which allows it to capture more light, improving low light performance and reducing noise. Until now, the largest sensor with backside illumination was 1"-type (around 1/3rd the size of APS-C). The advantage is illustrated in the following image -


Smartphones continue to attract yet further gizmos to make them easier to use as cameras or to enhance their capabilities. One of the latest that makes the taking of 'selfies' easier comes in the form of Fotopro QP-906R selfie-stick. Using a Bluetooth connection enables the built-in controls on the stick to trigger the phone's shutter.



 Image courtesy of Digital Review Connect


Summary – There appears to have been disappointing showings from both Canon and Nikon. There were no unexpected announcements from either company, with new models incorporating minor upgrades on existing ones. Existing enthusiasts for either brand will appreciate the new features but it seems unlikely that these will attract users of other makes to switch allegiance. This is a far cry from the days when, for instance, Canon took the brave step of introducing a completely new design of EF lenses for the EOS cameras. They risked alienating their numerous existing users of mechanically controlled and focused FD series lenses in order to introduce a coherent range of lenses having electronic controls and autofocus capabilities that would last into the future. They were also in the lead for the transition from CCD to CMOS sensors. There were those who were concerned about this in the early days, but other makers gradually realised the advantages and followed suit. Top models in the Nikon range are generally recognised for the quality of their imagery, especially at high ISO settings. However, Nikon must be worried by the thought that they are using Sony-supplied sensors which are also used in the Sony Alpha 7 range of cameras, available at much lower prices.

The main interest and excitement at Photokina came from makers who are concentrating on mirrorless cameras, whether SLR-style or compact interchangeable lens models or those with fixed lenses. Sony has a rather confusing range of cameras, from Q series for use with smartphones, through compacts and bridge cameras, up to the full-frame 7 series. Some of this resulted from their move away from the Minolta designs that they inherited many years ago as a result of the takeover. The introduction of new models, with more recent ones concentrating on mirrorless designs, gave rise to the requirement for differing lens fitments. It seems likely that this confusing situation will be resolved and that the E-mount lens will dominate in future.

Samsung has taken some time to become regarded as a serious contender for the production of quality cameras. It was, and remains, best known for its expertise in electronics. The process can be regarded as starting with its partnership with Pentax in October 2005 when the two companies agreed to co-operate and jointly develop new digital camera products. This partnership was later discontinued but in the meantime Samsung had gained valuable knowledge of what was required to produce a successful range of cameras. In recent years they have concentrated on development of the NX range of mirrorless models with APS-C sensors. They have been introducing models with improved features, building up to the announcement of the best-equipped and most expensive camera in the range, the NX1.

Panasonic and Olympus continue to add models in the quality end of the compact sector and to their 4/3 format cameras. Despite their smaller sensors, compared to APS-C, image quality is comparable and ISO performance has improved. The advantages of low weight and the smaller lenses have made them popular with many photographers. In common with all mirrorless cameras the reduced back-focus distance (lens mount to sensor distance) has enabled users to utilise existing SLR-style lenses with adapters.

Fuji is another company that has introduced an increasingly popular range of cameras, especially with its X series. These are compact and of good quality, with features that make them attractive to many photographers. For serious amateurs the combination of solid bodies with comprehensive controls, plus a range of highly-regarded lenses, could make them a first choice. For professionals they can represent a 'carry-often' or backup to the heavy DSLR kit. The announcements at Photokina represent a further advancement in Fuji's declared intention of 'kaizan' (continuous improvement). Fuji prides itself on listening to its customers and, where possible, providing firmware upgrades to existing models. The increasing popularity of their cameras is proof of an effective strategy.

Round Table Evening – 15 September 2014


This was an evening when a number of members had volunteered to man a number of tables set out around the room, offering advice on various photographic topics. These included standards for the submission of PDI entries, appraisal of photographs and advice on how to improve images, picture mounting, portraiture, advice on camera operation and choice of equipment.

Dave Lyon and Tony Peacock gave advice on Photoshop and Lightbox. John Fisher and Ray Algar manned another table, John concentrating on mentoring and Ray giving advice on standards for submission of PDI entries. Steve Lawrenson and John Gall dealt with improvement of prints and mounting. Don Morley and Gerry Stone were giving similar advice on printing and improvement. Jill Flower, Grahame Singleton and myself were on the final table to advise on any any camera use problems and computer applications generally. Although the topics mentioned were the principal ones covered there was an overlap between those on different tables and general advice was available at all of them.

I used my GoPro camera mounted on a monopod and remotely controlled from a Samsung Galaxy camera to capture the following images of the event.


Landscape Photography - 22 September 2014 – Slawek Staszczuk

Report by Peter Flower

© All photographs in this article are copyright of Slawek Staszczuk

Don Morley did the introduction for this evening's speaker and found himself with a problem. News had come through that Slawek had been delayed due to a problem on the railway from his home in Brighton. Rail services had been disrupted from about 5.40pm due to an incident at Preston Park Station. The line was reopened shortly after 7pm but this meant that Slawek would be late. Mike Weekes had already set off to collect him from Redhill Station. In the meantime there was only one announcement to be made. Following this Don suggested that he might sing to fill in the gap. Fortunately someone suggested that we should take an early tea-break, so we were spared this agony!

This was a sensible move, but even so the time spent by Slawek on his presentation was not as long as it would have been normally. This was a shame because, as Don had said in the introduction, the quality of his work was absolutely superb.

Slawek is a Polish-born photographer based in Brighton, specialising in landscape and cityscape/architecture photography. His work has been published in numerous magazines, brochures, advertisements and websites. He has also won numerous awards. Although his passion for photography evolved from computer graphics and he is proficient in Photoshop his approach to the subject is rather traditionalistic. He prefers to keep any post-production to a minimum and to ensure that the image in-camera is as near perfect as possible. His methods of doing this are explained later. As he said, in addition to a well-rehearsed technique for the actual image capture he is looking for the best possible lighting conditions. To this end he is prepared to carry out intensive pre-planning and choice of location, careful framing of the scene and patience to wait for the the right lighting on the landscape.

The following set of photographs illustrate one of his favourite subjects. Living in Brighton he has easy access to the South Downs. A feature of this landscape is its rolling nature and the amount of arable farming. It also means that intermittent cloud or low lighting sculpts the fields in a delicate way. He is prepared to set up his camera on a tripod, working with a long focal length lens to compress the scene and waiting for the ideal lighting conditions. He used two different cameras, Canon 350D and 5D II, but in both cases with a Sigma 100-300mm telephoto zoom lens. The fourth photograph was commended in the Landscape Photography of the Year awards 2011.


Slawek said that he would often return to the same location in different seasons and times of day in order to capture the scene in the best light. The bright mid-day light and cloudless skies of summer were best avoided. His favourite time of year was November, although any time with low directional light and broken cloud suited his style of photography. Whilst the South Downs are ideal for the style of photograph already shown there are large areas that are devoid of any foreground interest. On one occasion he found himself in an area with no obvious subject matter – except for a field full of young bulls. Switching to 17-40mm/4 L lens, but with the camera still on a tripod (!), he found these curious animals surrounding him. He grabbed this shot.



In his work he often uses neutral density graduated filters to better control the contrasts in the frame. Whereas many people adopting this technique use filters with a soft graduation Slawek prefers to use hard-edged graduated ones. Whilst this might not appear to be the best choice in many situations it is obvious that this method does work for him. The following photographs show where this method of controlling the sky exposure has been advantageous.

Note: The photograph of Brighton Sea Front from Palace Pier won an LPOTY commendation in 2009

 Another favoured technique is that of long exposures. This is evident in the beach scene and particularly so in the South Downs landscape, near Lewes, which has so much more impact because of the scudding clouds. The Brighton bandstand picture, taken in very wet conditions, is another example.


This last picture and the photograph of London Bridge which follows are examples of photographs taken in what Slawek refers to as the 'blue hour'. We are more familiar with the term 'golden hour' – most often used in relation to that hour when light is fading but landscape or architectural features are still visible. Whatever the terminology, the results are great.


Slawek does not confine himself to the south east or just the UK. He showed a series of pictures from the Pyreneese, Picos de Europa, Gdynia (his home area), Toledo, Ghent and Devon. Just two example of his images from Dartmoor, Devon, are shown below.


Within the constraints of this report it is not possible to mention all of the tips that Slawek gave for getting the quality of images that he does. Most of them came down to choice of the lighting conditions and care to capture a balanced exposure in-camera. He paid attention to the histogram to check on the latter aspect. His use of graduated filters was another important factor. He emphasised the point that technique was more important than equipment. Regarding equipment, in addition to the Canon models and Sigma lens already mentioned he also uses two wide-angle zooms, a Canon 17-40mm/4 L and Canon 10-22mm/3.5-4.5.

Summing up, Slawek's talk included a wealth of advice illustrated by some superb landscape images and accompanied by some humorous stories of his experiences. It was unfortunate that there were time constraints due to the late start but the members were treated to a great evening's entertainment. It is unfortunate that the projection system did not do full justice to the detailed quality of Slawek's photographs. To appreciate them in their full glory a visit to his web site is well worth while -


Ian Hunt – artistic view


Another photograph by Ian featured as 'Picture Of The Week' in the Surrey Mirror of September 18th. It was taken during a walk as part of Heritage Open Days, following in the footsteps of a visit by Charles Dickens and visiting the site of 'Hillsbrow'. This house, long since demolished, was built by John Linnell, the renowned nineteenth century Victorian landscape painter. The only remains left of the demolished property are a few garden steps, but it was from there that Ian took his photograph. This was a view that would have been enjoyed by the artist. A little Photoshop work on Ian's photo might give it the appearance of a painting that Linnell would have produced from the house in his day!



And finally . . . .

Don't argue with the photographer!