Dateline  28 September 2016

 

Dave Lyon - Further Success and Publicity

Peter Flower

We reported in Newsletter 83 on Dave Lyon' s 'Faces In The Storm' print exhibit at the Royal Academy of Art Summer Exhibition. The 3 September 2016 edition of Amateur Photographer contained a detailed report on this. I quote part of their report -

'It was Dave's first-ever submission and one of only 1,200 works displayed by the Academy from 12,000 it received. Dave, who endured 60mph winds during the shoot, described the news as 'fantastic'. Commenting on the shot, he said 'From past experience I knew these conditions could produce some fantastic coastal shots .. and I wasn't disappointed.' He returned home to review his images and dry off. There were a lot of good shots of the storm, harbour and lighthouse, and then this one that stood out. 'The more I looked, the more faces became apparent in the crashing waves and the spray – making it the image of the day.' Dave shot the photo in raw format and then processed it using Phase One's Capture One software, before importing it into Photoshop and converting it to monochrome. The 52x41cm print sold for £250 at the exhibition.'

Another of Dave's monochrome photographs, ‘Nice day for a Cruise’ that has won awards before, was also successful in winning the Shipwrecked Mariners’ Society Photography Competition 2016. I quote from the comments issued by the Society -

'With almost 800 entries from all across the UK, the judges faced a difficult decision in choosing this year’s winner, but unanimously picked as the overall winner amateur photographer David Lyon’s dynamic photograph of the sea overwhelming a ferry entitled ‘Nice day for a Cruise’ taken in Newhaven, East Sussex.

The competition was judged aboard the HQS Wellington in London, by a prestigious panel of media and maritime experts, including the picture editor at the Sunday Times, Ray Wells, picture editor at the i (newspaper), Sophie Batterbury, senior features writer at the Amateur Photographer magazine, Oliver Atwell, and the chief executive of the Shipwrecked Mariners’ Society, Commodore Malcolm Williams.

David Lyon, as overall competition winner, will enjoy a seven-day Mediterranean cruise for two, kindly donated by MSC Shipping Company. All winners will have the opportunity to attend the 177th Annual General Meeting of the Society in October where their work will be showcased and they will meet those involved with the charity.

On the overall winning image, Ray Wells commented: “All the judges were struck by this image because it almost looks like an engraving. David was one of the very few photographers to capture the true power of the sea and the difficulties seafarers encounter at work.”'

Many members will be familiar with Dave's award-winning images, but for the benefit of newer readers we publish them below.

© Dave Lyon - Nice Day For A Cruise

Faces In The Storm

Comments about Project Photo 100

PF

In the previous Newsletter we showed some of the images from the last few days of the project. 11 members took part – Carol and Lester Hicks, Grahame Singleton, Rosemary Calliman, Pete Welch, Mick Higgs, Paul Renaut, Les Dyson, Jill and Peter Flower, and Stephen Hewes who had instigated the project. I asked for comments from the participants, and these are included below.

Lester Hicks

I really enjoyed the discipline of the 100 days challenge. Not being particularly creative, and using a compact camera with limited capabilities, the need for a daily image made me look around for interesting details in everyday events and objects, as well as on events and outings with better opportunities. Not every day offered an obvious subject, so the progression of summer through our garden was an essential stand-by when evening loomed without anything having been photographed. It was amusing to see others also sometimes scrambling to fill their quota, and notable that quite a few fell back on food, or even the content of their fridge. (I’ve often voted unsuccessfully for “food” as the topic for the set subject competition!). It was gratifying to have some of my efforts “faved”, and the project was a great help in developing my limited skills.

Carol Hicks

I enjoyed the challenge and glad I went in for it. It made me look hard for detail in everyday objects and scenes. Sometimes I caught a valuable image I would never have achieved without The Challenge, as it made me carry my camera around rather more than I would normally do. I was grateful we undertook this exercise in summer, and that we had a range of garden plants to hand. I reckon it would be much more challenging in winter months. If I had time, I would do a round of the garden in the crisp morning light, and relax, knowing I had at least a possibility of an image if nothing else inspired me. I was also glad of the Sainsbury development in central Redhill, which provided several opportunities for a non-floral subject. It was great fun to see what images others had put up, and a thrill to get a ‘fave’. Sometimes I was forced to tackle an unusual technique in order to make something of a simple subject, so I learnt from the project too, and that is always satisfying; extending my range of abilities is mainly why I belong to the club. However, lugging a big camera around was sometimes annoying and makes me think I should investigate obtaining a smaller and lighter piece of equipment. The downside was the editing time; I still have an enormous backlog of other editing to catch up on after a busy summer. Thanks for the idea Stephen; 100 days was just right.

Les Dyson

When I 'volunteered' to join the 100 Day Photo project I set myself a few restrictions and a chance to edit and experiment with everyday subjects. It also allowed me to build up a little library of local places to revisit for another photo on another day. I intended to take each photo, edit it, and upload it to Flickr on the same day. I would only use an iPad mini to take the photos. I would use the square format for all the photos. I would use the same black border around all the photos. And all my editing would be done wherever I was using my iPad. And finally at some stage in the day I would think of a title. The title was my 'full stop '. It was good to see the group's photos as they appeared, and very nice to see a comment or 'fave' come along for one of mine. Having reached 100 photos I couldn't stop. So I am merrily carrying on with the same restrictions or freedoms I set myself, and maybe next May I will go back to the Isle of Wight and finish where I started.

Paul Renaut

Well done Stephen for organising the ‘event’. Bit of a challenge on a few of the days, especially during the wet periods. I’m glad I took part, if nothing else its made me look for images, where before they would have been dismissed. 100 days was enough for me and 365 is certainly out of the question. I feel possibly a monthly theme might be too much, but would be interested in participating in something.

Well done to everybody else, some wonderfully varied stuff!!

Mick Higgs

At last back from my travels and I have now uploaded my last few pictures to complete the 100 days. I have found it rewarding as it made me carry my camera allowing shots I would not have taken At times it was difficult to get that daily shot and 100 days was enough. I would dread 365. Also well done to all that stuck with it and completed the 100 days.

Jill Flower

I have to admit that before this project started I had got quite lazy about my photography. I was using the camera as a recording tool and for snaps! This challenge started me thinking about images and looking for them everywhere. Lots of people, like the other students at college got involved following the flickr site and suggesting subjects. There were a number of days when there was a pre-midnight rush to photograph something and make an image out of it, but mostly it encouraged me to go out and take pictures for this project. Often I had too many to choose from and the hard part was what to leave out! I have put a few of my also rans here as I hope you will have seen the pictures I chose on the site already. Thanks to Stephen for organising this and kick starting my photography again. Peter Flower

Like the others, I found it quite difficult to keep the daily flow of images going. On some days an interesting activity would take place, providing a glut of images to choose from. On the other hand, despite always carrying a camera with me, there would be days when nothing suitable presented itself and I would be desperately going round the house attempting to create an image. One thing which I did determine to do was to use different cameras and lenses as part of the process, and did manage to use flash on at least one occasion, plus taking a pinhole photograph. The really satisfying part of the project was reviewing the images from others as they were put up on a daily basis. Seeing the variety of other people's images, 'Liking' and commenting on them where appropriate added to the interest. Although it was a challenge I enjoyed taking part and am thankful that Stephen was able to persuade so many of us to take part. In the process we got to know our fellow members so much better.

Stephen Hewes

True to form, it was a challenge that lasted 100 days. The challenging part was of course finding interesting subject matter day in, day out. Weekends were relatively straightforward, especially on days out with camera in hand. It was the weekdays that were the real challenge, especially if I had events on in the evening, or days with damp miserable weather. On fine, sunny evenings there was no excuse not to get on the bike and ride out somewhere – not that I did that many times…

Varying the route to work helped. My 15-20 minute walk doubled in duration, some days taking me through St Mary’s cemetery and along the path to the Omnibus building, other days via the station and the tunnel. Look hard enough and there are things to see – the scaffolding reflected by its own shadow, coloured light traversing a shop window and illuminating a white wall.

But what really helped was knowing that 10 others were similarly active, sharing their results and ‘liking’ images. For 100 days we had a sense as to where the others had been that day, the weather, exploits of wooden mannequins, and updates on Sainsbury’s development. I thoroughly enjoyed the creativity and originality of many of the images.

Not forgetting the wider world out there – some of the images have been viewed around 300 times suggesting people were interested in our efforts, and some of them indicating additional ‘likes’. But it was also great to have an excuse to take photographs for my own satisfaction every day. Would I do 365? – no, the short hours of daylight in winter and the fact that I have exhausted the practical routes to work preclude it, but the 100 days were very fulfilling. Les is continuing on beyond 100 days – do give him encouragement (https://www.flickr.com/photos/les-in-his-elements/). And for those who are interested, we will be having informal ‘themed’ competition – this month’s theme is ‘numbers’.

Round Table evening - 12 September 2016 - organised by Jill Flower

Lester Hicks

The Members’ evening on 12th September once again proved very popular, with a large turn out of existing members old and new, and some who are thinking of joining. There was a real buzz from the start, and people had to be dragged away at half-time to claim their teas and coffees. A full range of advice was available. Help on administrative matters was available from Stephen Hewes, John Fisher and Jill Flower, covering membership (especially paying the new season's subs!), the mentoring scheme and special events programme, and how to get onto the new online system for entering competition PDIs. On actually taking and editing photographs, Don Morley and Peter Flower ran a clinic on using cameras and how to get the best from them, Steve Lawrenson advised on what judges look for in competition images, Tony Peacock demonstrated how to edit images in Lightroom ™, and Les Dyson did the same for those insisting on doing everything on their i-Pads.

The following images were provided by Lester who apologised for the quality, having taken them with his iPad. He said that had he been 'official' photographer he would have used his Panasonic camera!

© Lester Hicks

New camera models

Techman

The Photokina show in Cologne runs every other year and is one of the most important events in the photography calendar. As such it always gives rise to a flood of new equipment announcements from the camera manufacturers. A number of new camera models from Canon, Nikon, Fujifilm and Leica were announced shortly before the start, but the opening of the show marked the point at which news of yet more new models was made public.

Canon EOS M5

The Canon EOS M5 is an enthusiast-friendly model in the company's mirrorless lineup. Like the other M-series models, it uses EF-M lenses with support for EF and EF-S via an optional adapter. It features a 24.2 megapixel APS-C CMOS sensor with the company's Dual Pixel AF, which allows for fast autofocus in live view and movie mode. In a first for Canon, the M5 has in-body 5-axis image stabilization. It has an SLR-style design with three control dials as well as a direct control for exposure compensation. It features a tilting 3.2" LCD that can flip all the way down 180 degrees - perfect for selfies. In addition there is an electronic viewfinder with 2.36 million dots. The M5 can shoot continuously at up to 9 frames/second (7 fps with continuous AF) and can capture 1080/60p video. Photos can be shared via Wi-Fi, with the camera using Bluetooth for quick pairing with a smartphone.

Canon EOS 1300D

The Canon EOS 1300D is a budget-friendly DSLR with an 18MP APS-C-size sensor. It uses Canon's DIGIC 4+ image processor which offers an ISO range of 100-6400, expandable to 12800, as well as 3p fps burst shooting. It features a 9-point AF system with a cross-type sensor at the centre. The EOS 1300D also features a 3-inch, 920,000-dot LCD and an optical viewfinder. The 1300D features a host of scene modes, including a Scene Intelligent Auto mode, plus numerous creative filters. Full HD can be captured at 30p or 24p. It also has Wi-Fi with NFC for easy sharing via Canon's Camera Connect app.

Canon EOS 5D Mark IV

Replacing the Mark 3 is the EOS 5D Mark IV, its top-end enthusiast full-frame DSLR. Featuring an all-new 30 megapixel CMOS sensor, DIGIC 6+ processor, Dual Pixel AF system and 4K video capture, the Mark IV is easily the most advanced 5D to-date. The new sensor offers a fully expanded ISO range of 50-102400 and has 'Dual Pixel' AF, providing responsive face detection and focusing in live view and movie mode. When shooting with the viewfinder you can take advantage of a 61-point AF system (41 of which are cross-type) with expanded vertical coverage. The camera can shoot continuously at up to 7 fps. 4K video can be captured at 30p or 24p, and users can extract 8.8MP stills from clips. A unique Dual Pixel Raw feature lets users correct minor differences in focus using Canon's Digital Photo Professional software. Also featured is Wi-Fi with NFC and GPS with auto type syncing.

Nikon D3400

On 17 August Nikon announced this new model, updating the previous entry-level DSLR, the D3300. While a bit lighter than the D3300 that came before it, the D3400 continues to offer many of the same specifications including a 24 megapixel APS-C CMOS sensor with no optical low-pass filter. SnapBridge is a new addition to this line, enabling connectivity with a mobile device over Bluetooth Low Energy (BLE) – though no Wi-Fi connectivity is offered. The D3400 offers an EXPEED 4 processor, 11-point AF system, 1080/60p video, 5 fps burst shooting and a 3" 921k-dot LCD, similar to its predecessor. Two notable features from the D3300 have been eliminated. The first is ultrasonic sensor cleaning and, where the D3300 had an external microphone port, its successor does not.

Fuji X-T2

We gave pre-release details of this new model in Newsletter 83. This camera is now available for purchase.

Fuji X-A3

Announced on 25 August, the X-A3 is Fujifilm's entry-level mirrorless camera. It features a 24 megapixel CMOS sensor, EXR Processor II and a contrast-detect AF system with your choice of 49 or 77 points. The main difference between it and Fujifilm's higher-end X-series models is that it uses a traditional Bayer colour filter, rather than the X-Trans. The X-A3 has a flip-up 3" touch-screen display that is perfect for selfies. It offers full manual exposure controls (plus numerous auto modes) as well as most of Fujifilm's well-known Film Simulation modes. Full HD video can be captured at 60p or 24p. Wi-Fi is built-in.

Sony Alpha 99 Mark II

In terms of full-frame models Sony is best known for the very compact A7 series which fit their E series lenses, but they also have the A99 which fits the A series lenses – a legacy of the take-over of Minolta's camera division by the Sony company. Sony has now announced the Mark 2 version of the A99. This model is much bulkier than models in the A7 series. Although it does not have a mirror that flips up when taking the photograph it retains the Translucent Mirror Technology which enables the Hybrid Phase Detection AF System consisting of two AF sensors. A dedicated 79-point AF sensor provides high-precision focusing and depth detection, while the 399-point focal-plane AF sensor on the image sensor supplies wider coverage. The system is illustrated in the following diagram.

This newly developed high-speed, high-precision Hybrid Phase Detection AF, AF/AE system provides tracking in 12fps continuous shooting. There is also body-integrated 5-axis image stabilisation of the 42 megapixel sensor and advanced 4K movie functions. This model also has yet another variation on the adjustable rear screen, as seen in the image below. (A number of variations on other makes of camera were detailed in Newsletter 84)

Fujfilm GFX 50S medium-format digital camera

On the opening day of the show Fujifilm announced development of a full medium format digital mirrorless camera system. Fuji is not new to medium format. The company made some of the best and most unique medium format film cameras. Now, two decades later, the innovative manufacturer has returned to the medium format market with the 'GFX' series.

At first glance, the big news here is the scale of Fuji’s commitment to the platform. The GFX was announced with six lenses, an interchangeable finder, and a reference to the GFX 50S being the 'first' camera in line.

Unsurprisingly, the camera is based on the ubiquitous 44x33mm 50 megapixel chip, presumed to be the same superb Sony sensor featured on the Hasselblad, Phase and Pentax medium format cameras. More interestingly, however, the company went to pains to state that the G lens system is designed to support 100 megapixels of resolution.

Panasonic Lumix DMC-GH5

This dramatic image appears on the current official Panasonic web site.

Panasonic announced that it has developed a new Digital Single Lens Mirrorless (DSLM) Camera LUMIX GH5 that is capable of recording smooth, high-precision 4K 60p/50p and faithful 4:2:2 10-bit 4K video for the first time in the world.

It also features '6K PHOTO' which extracts approximately 18-megapixel still images from ultra high-quality video with approximately 9 times the pixel count of Full-HD. The new LUMIX GH5 is scheduled for introduction to the global market in early 2017.

The more detailed image of the camera, in a glass case at Photokina, comes courtesy of Luminous Landscape

Panasonic Lumix DMC-LX15

The LX15 is an updated version of Panasonic's LX line of enthusiast compacts. It maintains the small body, bright lens ethos that has made the range so popular but now includes a 20 megapixel 1"-type sensor. A decent number of control points and touchscreen mean plenty of direct control, despite the small size. A 24-72mm equivalent f/1.4-2.8 lens makes it a very capable pocket camera.

One feature that makes this camera so interesting is the fact that Panasonic has been able to incorporate a much larger sensor – 1” by comparison with the 1/1.7” in earlier LX models. This range has always been about higher image quality than that available from the usual 1/2.3” sensors fitted to many compact models. This resulted in a more limited zoom range, but benefited from wider aperture lenses as indicated. The comparative weights and sizes are surprisingly close.

LX15

Weight (inc. batteries) 310 g (0.68 lb / 10.93 oz)

Dimensions 106 x 60 x 42 mm (4.17 x 2.36 x 1.65″)

LX7

Weight (inc. batteries) 298 g (0.66 lb / 10.51 oz)

Dimensions 111 x 68 x 46 mm (4.37 x 2.68 x 1.81″)

Panasonic Lumix DMC- FZ2000

The Panasonic Lumix FZ2000 is the company's video-centric superzoom camera. It features a 20 megapixel 1"-type CMOS sensor, 24-480mm equivalent f/2.8-4.5 lens, a 3" fully articulating LCD and large electronic viewfinder. The camera can shoot continuously at 7 fps with live view and continuous AF and uses Panasonic's impressive Depth from Defocus autofocus system. While the FZ2000 has many features related to stills shooting, including a clever new Focus Stacking option, the 'focus' is on video. The camera can capture both DCI and UHD 4K video at both 30p and 24p. There's a full suite of capture tools available, ranging from zebra patterns to SMPTE colour bars.

The impressive Leica DC Vario-Elmarit lens construction can be seen in the following image captured from the Panasonic web site.

In the same way that the LX15 introduced the 1” rather than the much smaller sensor in the earlier LX series cameras the FZ2000 replaces the 1/2.3” sensor of the FZ300 superzoom camera which preceded it. Because of the smaller sensor the FZ300 was able to provide a greater zoom range (25-600mm), but also keep the aperture at a constant maximum of f/2.8. Set against this, the new model with its much larger sensor offers 20 rather than 12 megapixels. The new model increases in weight and dimensions, but not to the extent that might be expected.

FZ2000

Weight (inc. batteries) 915 g (2.02 lb / 32.28 oz)

Dimensions 138 x 102 x 135 mm (5.42 x 4.01 x 5.3″)

FZ300

Weight (inc. batteries) 691 g (1.52 lb / 24.37 oz)

Dimensions 132 x 92 x 117 mm (5.2 x 3.62 x 4.61″)

Panasonic Lumix DMC- G80

The new Lumix G80 sits somewhere between the GX8 and the G7. It provides a much more advanced user experience and more rugged magnesium body than the G7 but without the 20 megapixel resolution of the GX8.

Main points – 16 megapixel Four Thirds MOS sensor without optical low pass filter, 5-axis image stabilization with Dual I.S. 2, splash/dust-proof body, 2.36M-dot OLED EVF, 3-inch 1.04M-dot fully-articulating touchscreen LCD, 4K video / photo, focus stacking and post focus.

The new Dual IS 2 5-axis in-body image stabilization system enables it to work in tandem with lenses that are optically stabilised. It claims to compensates for 5-stops.

Panasonic Lumix DMC- GX80

This model was introduced in April 2016. It has been announced that a firmware update will offer the same focus stacking and post focus facility as on the new G80. It should be explained that the post focus system is active when a short 4K burst of shots is activated. During this process the camera alters the focus point for successive frames. The user can then scroll through these, and by touching on the screen select the frame with the required focus point, which can then be saved. It would appear that a clever algorithm is used to merge a series of frames from such a sequence to provide the effect of focus stacking.

Olympus OM-D E-M1 II

Announced on 19 September, this is the company's high-end mirrorless camera. Featuring a newly designed 20.4 megapixel MOS sensor and TruePic VIII engine, the camera is capable of burst rates of 60 fps in Single AF and an incredible 18 fps with C-AF. The new Dual FAST autofocus system combines contrast detection with 121 on-chip phase-detect points. The E-M1 II has in-body 5-axis image stabilization which reduces shake by up to 5.5 stops. Its body is weather-sealed and features a large electronic viewfinder, 3" LCD fully articulating touchscreen and dual memory card slots.

YI M1

YI, or Young Innovators, is a China-based company that has just made its debut in the consumer based compact ILC market. The M1 is a mirrorless interchangeable lens camera that has a Sony Micro Four Thirds sensor that shoots RAW DNG at a maximum ISO of 25,600 and can capture 4K video. On the rear the camera features a 3-inch 720 x 480 touchscreen display with “phone-like” controls for the smartphone generation, and even though there is no EVF or built-in flash, WiFi and Bluetooth are included.

As can be seen from the following image of the silver model, if you want a camera that looks like a Leica T but will cost you less than a third of the price the M1 fills the bill!

The modern Leica-like aesthetic with a red rectangle where you might expect a Leica circle makes for a good looking camera. The M1 will sell for $330 bundled with a 12-40mm f/3.5-5.6 or $450 with a 42.5mm f/1.8. Unfortunately, it’s an appeal you have to live in China to enjoy, where it will begin selling on 23 September. No international release date plans have been announced.

Leica SOFORT instant camera

Techman

Quoted below is the Leica promotion for their new instant camera -

“Different from other instant cameras in many ways, the inimitable, timeless style of the Leica SOFORT was created specially by the Leica design team in Germany, uniting the retro-modern magic of instant photography with the renowned quality and originality of the Leica brand.

Covering a multitude of photographic situations, numerous modes and options are available on the camera: Auto, Party & People, Sport & Action and Macro, as well as creative programmes for multiple and timed exposures. In addition, the Leica SOFORT offers a special mode for self-portraits, as well as a self-timer with two different time delay settings. For the best photographic results every time, the camera automatically adapts its settings, such as the exposure time and aperture, to the mode selected by the user.

In true Leica style, the camera takes advantage of available light for as long as possible when shooting in auto mode, without triggering the built-in flash – resulting in pictures with a more natural and authentic look. Furthermore, the flash can be left on automatic setting, or the photographer can choose to switch it on or off, depending on the nature of the pictures they wish to take.

For easier ‘selfies’, the Leica SOFORT also features a rectangular mirror on the front, to ensure the perfect self-portrait every time.

In addition, with the Leica SOFORT, the focusing distance can be set independently from the selected programme mode. Depending on the standard or long distance setting, and the mode chosen, this allows even more creative freedom when shooting with the camera.

In addition to colour film, Leica also offers a monochrome film option for those who feel more at home in the world of black and white photography. All Leica SOFORT prints are framed with a border in a warm shade of cream, reflecting the nostalgic character of instant photography. Colour and monochrome films will both be available in packs of 10 exposures, and colour film will also be offered in double packs (20 pictures).”

In fact this camera is an adaptation of the existing Fujifilm Instax Mini 90 camera, as will be obvious from the following images.

Images of the Leica SOFORT camera colour options and Fujifilm Instax Mini 90 camera

This is further confirmed by the fact that the SOFORT will use Instax film from Fuji which will shortly be available.

Instant Photography

Peter Flower

In Newsletters 81 and 82 I wrote at length about the the history of Polaroid instant photography and subsequent systems developed by the likes of Kodak and Fuji. The announcement by Leica, reported above, is further evidence that there is a revival of interest in instant photography. Added to this, earlier in September Fujifilm Corporation announced the launch of the “instax mini film Monochrome”, which will be released worldwide in October 2016. The claim is that “instax mini film Monochrome” responds to the increasingly sophisticated demands of users, enabling them to expand the artistic potential of their photographic expression and adding a further dimension of fun to using instax cameras and films.

Instax has been in the news in the past couple of weeks – first for the announcement of its monochrome instant mini film, and again with the announcement of a square format film and camera under development. Now they've announced something else - a collaboration with fashion designer Michael Kors. The limited edition Kors-branded Instax Mini 70 is metallic gold with the designer's signature printed on the back panel and the brand logo on the front. The Michael Kors edition Instax Mini 70 will be sold bundled with film and is expected to be available in late October.

Polaroid licensee C&A Marketing announced an upgraded version of its original Polaroid Snap digital instant camera. The Polaroid Snap Touch adds a 3.5" LCD touchscreen on the back of the camera for easier framing and control of the menus and settings. Images are captured on a new and improved 13 MP CMOS sensor and the new model is capable of recording 1080p Full-HD video. Images and video footage are saved on a microSD card up to 128GB in size. Remote connectivity through Bluetooth to the Polaroid Print app for iOS or Android allows for printing from other devices, such as smartphones or tablets, and the app also offers editing functions including a range of filters and digital stickers.

The confidence in instant systems can be judged by the Polaroid stand.

Leica SOFORT promotion error on website

Peter Flower

An early visit to see promotional images about the SOFORT on the official Leica web site would have revealed the following image of a person taking an 'instant' selfie image from the window of a speeding car.

However, at least one eagle-eyed viewer noted the reflected image in the sunglasses that purported to show the SOFORT in action was not the right shape. Subsequent research showed that this was a stock image taken with a Canon EOS 7D camera. The proof can be seen in the enlarged image and originating photograph details.

 

To Leica’s credit, no sooner had a video pointing out the mistake begun gaining steam than the photo was replaced, so you will no longer be able to see the original.

By the way, in case you are puzzled by the name, 'SOFORT' in German translates into 'Immediately'!

Hollycombe steam fair - 17 September 2016 – Organised by Stephen Hewes

Report by Stephen Hewes

Driving down the A3 close to Hindhead made me realise how long it had been since I had ventured that far down the A3. I’d only been through the tunnel once before, and my previous trip to Hollycombe had been in my pre-digital camera era when the girls were young. I recall it being a warm summer day, and we picnicked with friends in the scenic car park. The car park on Saturday night was quite different – equally scenic, but a cold breeze and darkness descending. I had driven down with Anthea and Rosemary, and we were greeted by Modesto on our arrival.

First stop once inside was the café, for a hot drink and a quick bite to eat. Through the window a guy was teaching his young children how to drive a steam road-roller – 5 years old and in charge of 10 tons! Once outside we met David, who using two engines was providing much of the steam for various rides. Full of anecdotes and more opinions than a London cabbie, an entertaining character who never stopped moving – either topping his fireboxes and oilers or studying gauges.

The rides themselves are quite genteel by today’s standards, but for visitors in their heyday would have been quite a thrill. The carousels, the Razzle-Dazzle (forerunner of the centrifuge), ferris wheel, the chair-o-planes, and a massive swingboat powered by steam. And all accompanied by fairground music emanating from numerous sources including a very ornate organ. After a couple of hours wandering around with cameras we had time to take in the rides – Anthea and Rosemary staying on the big carousel for two rides on the trot. Before we knew it, firstly Jerusalem, and then the national anthem played out from the central organ and the steam had all evaporated away. All in all, a very enjoyable evening.

© Copyright Stephen Hewes

Fine Art Digital – 19 September 2016 - Nenne van Dijk FRPS DPAGB

Report by Peter Flower

Following on from two very successful events run by members, this was our first formal talk of the new season. Nenne talked about and showed a large number of superb prints, mainly images of flowers. Members will recall that we had another talk, largely on the subject of wild flowers, by John Negus in April 2016. (Newsletter 80) However, John is a horticulturist and so concentrated on photography which identified the various different species, and talked about their location in the wild. In direct contrast, Nenne is an artist who creates her stunning images utilising flowers as the starting point for these.

Nenne’s interest is not limited to photography. She also had a brilliant career as a sculptor, but is now concentrating on photography since a house move resulted in her no longer having a studio in which to work. Her work figures in public and private collections. She has been published and has won numerous awards and prizes. She spoke briefly about some of these during her talk, and expressed her joy at these successes. However, she is somewhat reticent about going into the details. To quote her 'It is the members of the club to let you know how my work was like, not what awards I have ( too many to mention)'.

Whilst showing the images Nenne explained in detail how these were made. Normally the photographs would be taken indoors and with daylight, using window light and reflectors. Additionally, a plain background would be used, but sometimes a painted backdrop. The important factor was that the background could be manipulated, using Photoshop, to provide an artistic effect. It has to be said that the results, viewed from an audience viewpoint, looked more like paintings than photographic prints. The variety of treatments can be judged by the sample images that are at the end of this report. What we do not have space to show are examples of the different treatments on the identical flower, or the sets of photographs on a 'panel' theme.

Subject matter was not entirely limited to flowers – there were a few examples of foxes and owls included. However, as can be judged from the following image, they might still be subjected to Nenne's artistic treatment.

© Nenne van Dijk

The sheer variety of Nenne's artistry aroused a great deal of interest from the audience. There was a constant flow of questions from members about the methods and techniques that she used. It has been quite some time since we last had this level of interaction. Given the quality of the number of prints that were presented (if I heard correctly, all produced within the past two months) it was not surprising that they received such an enthusiastic response. This was an excellent start to our programme of talks for the new season.

All photographs © Nenne van Dijk

 

And finally . . . . . . .

Susie Kixmoeller, from Minnesota, put a GoPro camera around her four-year dog Tula's neck for visits to the park. This inventive idea allows her brown Labrador to capture its playful interactions with dozens of other dogs.

An example, courtesy of Caters News Agency, is shown below.