Dateline  5 November 2016

Dave Lyon awards ceremony

Peter Flower

In Newsletter 85 we reported that Dave's monochrome photograph ‘Nice day for a Cruise’ had won top prize in the Shipwrecked Mariners’ Society Photography Competition 2016. The awards ceremony was held at the Fishmongers Hall, London Bridge on Tuesday the 4th October where Dave and the two runners up were presented with the awards by the president of the Shipwrecked Mariners’ Society, Admiral Sir George Zambellas GCB DSC DL FRAeS together with the Chief Executive Malcolm Williams. Also in the audience was the Lord Mayor of London. The awards were combined with gallantry awards for members of the Royal Navy air sea rescue (Rescue 193) and members of HMS Clyde. Photographs of Dave accepting the certificate and his prize are shown below.

Photographs supplied by Dave Lyon

Coincidental to the above article, very similar images to Dave Lyon's Faces In The Storm have appeared in another competition. Refer to the following report.

Landscape Photographer of the Year 2016

Peter Flower

The results of this competition have recently been announced. Members can view the images at web site -

What I found particularly interesting was the fact that one photographer, Rachael Talibert, had won awards in two categories with very similar images. Amazingly, both of these featured a very similar subject that will be familiar to our readers through the work of Dave Lyon. The Sunday Times Magazine Award-winning image of a raging sea was titled Maelstrom, Storm Imogen, Newhaven. In the Adult Classic view Rachael was Highly Commended for Poseidon Rising, Newhaven, this being the Judge's choice by Steve Watkins. It seems that this location will soon rival the Seven Sisters as the location of choice for photographers to produce iconic images!

In addition to Dave Lyon, other members have been winning awards -

Mark Thomas – Tawny Owl image

© Copyright Mark Thomas

Mark comments -

“The 'Tawny Owl' image was shot whilst on a visit to The British Wildlife Centre, with friends, in August this year. After post processing, including the removal of a cage bar that ran across the entire image, the image was uploaded to Flickr and posted to the British Wildlife Centre's Flickr group. Matt Binstead, Head Keeper, contacted me requesting permission to use it in the 'British Wildlife Centre Keeper's Blog'. Little did I know that it was being considered for 'Photo of the month'. It was only when Matt forwarded the hyperlink to the blog, that I realised, to my surprise, that not only was it considered for 'Photo of the month' but it had won.”

The blog item can be viewed at this link -

Comments from Matt, Head Keeper -

“Thomas's photograph really stood out when looking through the many shared this past month. Not only for it being one of the very few black and white images, but for the very distinct style Mark seems to have used. Some beautiful editing and stunning contrasts have allowed "Aluco" the tawny owl to really pop out , and I love the way the texture and detail in the branch adds to the overall picture. This was also taken of one of our owls in their aviary, showing the photographic potential of these enclosures if you know how to work it. Great portrait Mark!”

Lester Hicks – Wells Cathedral

Lester comments -

My Wells Cathedral image which to my great surprise was Highly Commended in the recent Wells Cathedral visitors photographic competition.

© Copyright Lester Hicks

Tornado at Betchworth!

Don't panic. It was the steam engine of that name captured by Ian Hunt in a photograph that appeared in a recent edition of the Surrey Mirror.

© Copyright Ian Hunt

Extreme Macro – 26 September 2016 - Johan J. Ingles-Le Nobel

Report by Peter Flower

The word 'extreme' encompasses all aspects of the photographic processes that Johan explained in his talk. Extreme attention to detail in accuracy of taking the photographs; extreme knowledge of entomology; extreme care in the preparation of anthropods, insects and bugs for their 'portraits' and extremely detailed research into all aspects of the process to achieve outstanding macro images.

It is not possible to cover in detail all the information that Johan provided within the limitations of this report. Anyone who has an interest in any aspect of the subject can find this in the excellent, and very comprehensive, sections of his web site -

This report will concentrate on more generalised aspects of macro photography and Johan's methods of working. The term 'macro' is one that is often misunderstood, and misrepresented by lens manufacturers. In its true sense the term should only be used in the context of producing an image on the film or sensor that equals (or betters) in size that of the subject. In Johan's case he is almost always seeking images that considerably enlarge the original, hence the term 'extreme'. It is quite possible to buy lenses that have a so-called macro setting, but these rarely match the capabilities of a true dedicated macro lens.

One of the most significant points about Johan's equipment that he uses is that, although it is very comprehensive, it is not necessarily all expensive. Included amongst the kit that he had on display there was an example of of a specialist Canon MP-E 65 macro lens that is able to provide settings between 1:1 and 1:5 images. This can only be used in a very close-up situation. Contrasting with this were examples of a number of quite cheap lenses that had been adapted in various ways. As was explained, there were numerous ways in which 'ordinary' lenses could be utilised for macro purposes. A simple extension tube could allow much closer focus (but with loss of infinity setting and effect on maximum aperture). So-called close-up filters could be attached to the front of the lens, again allowing a much closer approach to the subject. Very often these are provided in sets of up to three in different strength, and can even be used together for maximum effect. The downside of these can be a loss of critical definition, especially on the periphery of the image. Amongst the other options are reversing lenses with the use of special adapters, coupling a reversed lens in front of the normal one, enlarger lenses (very good because of the flat field that they provide) and microscope objectives. In order to ensure the sharpest possible images it is essential to minimise camera shock.

© Johan J. Ingles-Le Nobel

Like many people I was always intrigued to know how extreme close-ups like these were made showing such details as the rounded compound eyes of very small creatures. It was revealed that the majority were already dead and thus not a problem to hold focus on! These shots were generally taken indoors with apparatus that held both camera and subject very firmly. The only movement involved came from an electronically controlled rack system which inched the camera in minute increments between successive exposures. This provided a series of images that would then be subjected to a focus stacking application on the computer. The resulting image would provide a much sharper image, with greater apparent depth of field, than would be possible with even the smallest lens aperture. (On the topic of small apertures Johan pointed out that actual aperture settings would be affected by the distance of the lens from the sensor, almost certainly resulting in diffraction, and image degradation, that is experienced with irises at very small settings. Anything like f/96 should not be attempted)

The preparation of the subject is a complex and time-consuming one. I hope that Johan will forgive me for paraphrasing the process, but it is one that makes the preparation of a human corpse for viewing appear quite simple. If rigor mortis has already set in the body has to be 'relaxed' first, prior to it being pinned into the required position. It will then stiffen in place. It must also be subjected to a careful 'wash and brush-up' process to remove any dust and ensure that fur or exterior surfaces are in pristine condition. There is even a process to reinstate the appearance of eyes. This is done with a chemical called Devcon90. The before and after condition is shown in the following image.

© Johan J. Ingles-Le Nobel

In all this process can take 4 to 6 days. As many as 250 shots may be taken of the subject, with the camera distance being incremented by extremely small amounts. The resulting images are then submitted to a focus stacking application like 'Zerene' which takes the sharp elements from these to combine them into the final image. The following image from the Zerene web site illustrates the process.

This is a complex and time-consuming process, one in which the computer application is often left to run overnight!

Lighting of the subject is crucial. In a studio environment there can be a choice of electronic flash or continuous lighting, but in either case it is desirable for this to be diffuse to avoid specular highlights on the subject. In the case of outdoor photography the brief endurance of flash freezes any movement. With flash, shutter shock isn't a problem, but with continuous lighting in a studio environment it is. That's why Johan and people like him prize cameras with EFSC (electronic shutters) which don't need a mirror bouncing up and down, and prevent that shutter shock. The equipment that Johan had set up on a table to show the process included an additional monitor which showed a much larger image than was available on the camera. Johan explained that the use of this monitor not only assisted in the setting up of focus, but could also be used as a way to control background colour. (He makes it display a picture and shoot against that for the colour)

There were so many other techniques explained that I cannot cover in detail. These included such useful tips as to the ideal times for outside photography, when the insects might be least active, to the sorts of habitat where they would most likely be found, and means of capturing them with a sweep net or pitfall trap. One of Johan's comments about photography in the field that I found most amusing, and illustrates the difficulties that can be encountered, was about the following image of a damselfly. As he approached it tried to hide behind the stalk on which it clung to. As Johan moved sideways to attempt a more detailed shot the damselfly exactly mirrored his movement, always behind the stalk.

© Copyright Johan J. Ingles-Le Nobel Damselfly

Some more of Johans's superb images are shown below, including ones that have been taken in the field.

© Copyright Johan J. Ingles-Le Nobel

Summing up, this was a talk that worked at two levels. First, the term 'extreme' applied to the explanation of the very complex techniques required to produce the stunningly detailed images of very small creatures that we saw. At the other level there was a wealth of practical advice that could be utilised by the the photographer who is only interested in capturing the likes of bees, butterflies and moths or general close-up work. As such it gave an interesting insight into this specialist field of photography whilst at the same time provided valuable guidance which could be used by members.

New members

Note from Stephen Hewes

I’d like to say a quick but warm welcome to our new members who’ve joined this year. Irek Burakowski and Simeon Jones attended sessions at the very end of last season and have now joined, Gaye Wickens and Siva Kumar are new in recent weeks, and Chris Gage has rejoined after a break of 5 years or so. Please join me in welcoming them!

Saturday Natter – Denbies Vineyard - 1 October 2016

Peter Flower

There was a very good attendance at this meeting. This is a very useful meeting where those present get an opportunity to discuss all sorts of photographic topics which are not possible during the limited tea breaks at our formal evening events. One of the topics discussed at recent meetings has been the choice of new camera equipment. (Always a popular topic!) There has been increasing emphasis on the options for purchasing lighter-weight cameras, as well as taking advantage of the newer technologies that are being introduced into the latest models. As an example, image stabilisation that was either incorporated into the lens, or the body, and gave improvements of two to three shutter speed advantage and worked on two-axis basis have now been replaced by in-body 5-axis stabilisation that can give five times shutter speed advantage. In some instances the in-body stabilisation can work together with lens stabilisation to provide greater options for body/lens choice.

Very often camera kit is brought along which enables other members to compare their respective capabilities. As mentioned in a previous report, John Fisher brought along his newly-acquired Panasonic TZ100 which would give him a lighter carry-around camera on a forthcoming holiday. Rosemary Calliman had also being looking for a new camera. She already has a Sony HX300 bridge camera which has a 50x zoom range, but in image quality terms is limited by the small 1/2.3” sensor. She had been considering an upgrade to a micro 4/3 model, but after discussion at Park Cameras was advised that another bridge camera with 1” sensor would best serve her requirements. As a result she purchased a Panasonic FZ1000 which combines a 1” sensor with a Leica Vario-Elmarit lens providing an equivalent zoom range of 25-400mm (16x). Rosemary brought the new camera along. It has to be said that the 1” sensor is very popular, having been adopted for some very well-regarded models in, for example, the Sony, Panasonic, Canon and Nikon ranges. This was my first look at such a camera, and Rosemary allowed me to take a few sample shots. The following is one that I took of Modesto from about eight feet away, hand-held.

When Rosemary sent me the photo I was surprised to see that, in comparison to an image taken with my own Samsung Galaxy which has a telephoto lens limit equivalent to 483mm, the Panasonic showed a much tighter crop. Checking the EXIF file for Rosemary's camera it showed a focal length equivalent of 800mm. Subsequent enquiries revealed that the camera had been handed to Rosemary with an option set that allowed digital zoom to take place at the longer end of the conventional zoom setting. Digital zoom, cropping from the centre of the sensor image, is normally regarded as an undesirable practice, but in this case the procedure seems to have given a very satisfactory result. It would be interesting to hear views on this subject from other members.

Just as a matter of interest, I researched a lens that would provide the sort of 'reach' that the compact FZ1000 can achieve. The size and weight comparisons make interesting reading -

NIKKOR AF-S lens - 80-400mm f/4.5-5.6 1562g (3.44lb). It should be noted that because of the limited maximum aperture this lens would not work well with an extender to give a longer focal length option. Also there would be the added weight of the camera body.

In comparison - Panasonic FZ1000 16x zoom 25-400mm equivalent f/2.8-f/4 lens

831g (1.83lb) 98.5mm H (3.88”) 130.7mm D (5.15”) 136.8mm W (5.39”)

Obviously the NIKKOR lens (which gets excellent reviews) and full-frame sensor would give superior images, but this comparison does provide food for thought when considering perhaps a second carry-around camera.


After the event I chanced upon a review for a Tamron SP 150-600mm F5-6.3 G2 lens on a web site. Looking through the gallery of images from this site I came across what could be Modesto's double. Readers will not be able to draw a comparison from the images produced here, but I was surprised how well the Panasonic image (even with its digital zoom extension out to 800mm) held up against the Tamron (at 600mm) and Canon 5D Mark IV (with its full-frame 30 megapixel sensor) combination. It was only when the images were enlarged up on a desktop HD monitor that the quality difference became really noticeable.

© Photographs – Modesto Vega by Peter Flower. Second image courtesy of DP Review

The Tamron lens review gallery images can be viewed at this link -

On 6 October Sony announced two new models. It seems strange that these were not announced at Photokina, but perhaps the company did not want to divert attention from the flagship A99.

Sony A6500


The a6500 is Sony's top of the line APS-C E-mount mirrorless camera, looking a lot like the previous a6300 but with a higher specification and more expensive. It is based around the same 24 megapixel CMOS sensor as the a6300 but it adds several key features including 5-axis in-body image stabilization and limited touchscreen control. The touchscreen is solely used to set the autofocus point, with no option to control settings or navigate the menus. It features the same 425 on-sensor phase detection elements as the a6300 and still shoots at 11 frames per second maximum burst rate, but a deeper buffer and additional processor allow it to shoot over 300 JPEG frames in a burst, or 100 frames when shooting Raw + JPEG. It also claims the fastest autofocus response time for an APS-C exchangeable lens camera of 0.05 seconds.

This camera is currently on pre-order at a price of £1449 (body only) from SLR Hut.

It is surprising how the price of models in this range have escalated. Admittedly the specifications have improved but the A6000 (Introduced in February 2014) is now discounted to £419 and the A6300 (of April 2016) is £922, both body only, at Park Cameras.

Sony DSC-RX100 Mark V

The Mark V is the latest addition to Sony's popular line-up of 1" enthusiast compacts. The major additions to the Mark V are on-sensor phase detection AF, a touchscreen LCD and an incredible burst rate of 24 fps with full-time focusing. The AF system takes the same 25-point contrast-detect system and adds 315 phase detection autofocus points that cover 65% of the frame. It also claims the fastest autofocus response time for a fixed lens camera in its class of 0.05 seconds. 4K video is oversampled without pixel binning and saved using the XAVC S codec. The RX100 V continues to offer a 20.1 megapixel 1"-type stacked CMOS sensor, 24-70mm F1.8-2.8 lens, clever pop-up EVF and built-in Wi-Fi w/NFC.

This camera is currently on pre-order from dealers at a price of £999.

Note: The reason that I highlight the frames per second rate is to show just how fast this is in comparison to other much more expensive cameras used by professionals. For example, the new Nikon D5 has 14 fps and the Canon 1D X Mk.II has 16 fps. (These are the rates for normal capture of data from the whole sensor, and not for semi-video rates which crop the image)

Members' Talks – 10 October 2016

Reports by Peter Flower

This evening was taken up with details and images of travel to Iceland and experiences of several years spent in China.

Iceland - Carol & Lester Hicks

© All photographs in this article are copyright of Carol and Lester Hicks

This was a record of a visit made in May 2015. Despite the fact that it was at a time when the pleasant temperatures of spring would be experienced at home they were greeted by just 2 degrees Celsius on arrival in Iceland. They hired a car to make a circuit of the island, viewing this land of steam, ice and rocks. At times they encountered snow and ice on the roads and Lester wished that the hire company had provided snow chains!

We were shown a variety of images taken during their tour. Readers will be aware that Iceland is volcanically and geologically active, positioned as it is at the juncture of the North American and Eurasian tectonic plates. The fissure can be seen in this photograph.

Pingvellir – mid Atlantic fissure

Glacial rivers flow to the sea and grand waterfalls can be seen at various points around the island.

                                                 Skogafoss                                                                 Gullfoss with frozen spray

The geysirs at Strokkur are very active and fairly predictable in their timing of eruptions.

Strokkur Geysir erupts

The interior consists of a plateau characterised by sand and lava fields, mountains and glaciers. The landscape is captured in this image of hardy horses grazing with the backdrop of the snow-covered mountains.

Icelandic horses grazing under Vatnajokull glaciers at Brunnholl

Members may well be aware of Lester's interest in geology, so he was in his element on Iceland. Of particular interest were the strange mixes of rocks that could be seen, as well as the effect on the landscape of the volcanic action.


Petra's Stone Collection at Stodvarfjordur and Mývatn Lake volcanic arches



An interesting place to visit was the Jokulsarlon Blue Lagoon where mini icebergs could be seen.

Swan-like iceberg and other icebergs with seabirds and a seal

During their tour, which took them right around the island, they took in these views of a fishing village and a spectacular rock arch on the coastline. What will not be obvious from the image shown here (much reduced in size) is that there is more than one girl in a precarious position on that arch.

Finally, close to the capital, Reykjavik, is this iconic stylised sculpture as a tribute to the Viking heritage. Carol not only captured the scene in beautiful light but also arranged for the flock of birds to be ideally framed above the sculpture!

Tribute to the Vikings

By hiring a car and making a circuit of the island Carol and Lester took in many of the sites and views that are not covered by the conventional tourist trail, the so-called Golden Circle, that covers a limited range from Reykjavik. This resulted in a much more interesting sequence of images from the island. Unfortunately it is not possible to include many of these and sufficient detail of their tour in this brief report, but hopefully it does reflect the the unique character of this island which is shaped by the volcanic activity.

Learning to see: my life in China - James Godber

© All photographs in this article are copyright of James Godber

The images that James showed us dated from 2006-2010, a period when he was working in China. Not only was he taking in the very different culture and sights, but also honing his photography skills. Based in Beijing, in a tall apartment block, he first had to get to grips with the idiosyncratic floor numbering system. Because the number 4 is regarded as unlucky in Chinese culture there was an absence of floors 4, 14 and so on, and because the building housed Europeans there was also the concession to omit unlucky number 13! The ground floor was also number 1, further adding to the confusion.

Spending such a lengthy time in the country, James was able to travel around various provinces and record a series of images that showed so many different aspects of the architecture, scenery and street life. I asked for a representative variety of subject matter to accompany this article and these are shown below with brief comments.

One aspect of life is the availability of street food. This collage shows a street food vendor and a worker walking down the street with typical snack food.

Being there for a lengthy period of time James was able to make visits out into the clean air of the surrounding country, escaping the often polluted atmosphere in Beijing. As might be expected he came across numerous rural scenes such as that of these rice planters and the charming young boy sheltering under his umbrella.

Other visits included one to the Great Wall. This image is untypical in that it shows the Wall in misty conditions and shrouded in snow.

The following collage shows other aspects of the culture, with highly ornate structures like that in the Forbidden City, Miao women of Guizhou in traditional decorative costumes, and a man carrying out calligraphy on a pavement. This is at the Temple of Heaven. James explained that the calligraphy is done with water which rapidly evaporates!

James was fortunate to be present in China when it hosted the Summer Olympic Games in 2008 and he showed this collage of images from the time of that event.

There were so many excellent images from his time in China, but for me one of the most impressive was this one of the night-time light display at Tiananmen Gate on the occasion of the 60th Anniversary of the People's Republic of China on 1st October 2009.

This talk and the images that were shown benefited greatly from the fact that James had spent such a lengthy time in the country, enabling him to explore so many aspects of this very different culture. He had been able to immerse himself in so many aspects of life in China. This enabled him to provide us with with a very interesting insight into the people, culture and scenery of this vast country.


In Newsletter No. 61 (2014) I reported on a much earlier item that had concerned a visit by members of our society to China. Their visit had coincided with the event which became know as the Tiananmen Square Massacre, in the early days of June 1989, following demonstrations by students. The original report of their travels appeared in the December 1989 edition of 'Vision' which was the name of our printed newsletter at that time. The three members, David and Molly Brown, plus Ray Ashbee (who was accompanied by his wife, Gina) travelled around the country before staying at the Academy of Art in Beijing for a short time, where the wives were on a painting course. They visited the square where the students were assembled, taking photographs and talking to them.

The photograph that follows is a scan of two pages from the original 'Vision' magazine. It will be seen that the article is headed with Chinese text. This was provided by the owner, Katie Woo, of the 'Friendly Villa' Chinese restaurant which was, at the time, located at Western Parade, Woodhatch.

© Peter Flower

4 is an unlucky number for some!

Just ask Lewis Hamilton. At the 2016 Formula 1 event in China his championship hopes were severely challenged. He would have dropped 5 grid places in any case due to a gearbox change, but in fact failed even to post a qualifying time due to other mechanical problems. As a result he started last on the grid. In addition he made 5 pit stops during the race. Despite his best efforts he finished in a lowly 7th position. You may ask what this had to with Chinese superstition. A glance at the following photograph will show that the number four appears not just once, but twice!

Annual Exhibition – Community Centre, Reigate – 29 October 2016

Report by Peter Flower

On show were about 150 photographic prints and a slide show of digital images. As well as the conventional display of many award-winning photographs there was the addition of a special exhibit. This consisted of 20 superb black and white photographic prints by May Savage, dedicated to the memory of this popular person who had been a member of the Society for 33 years until the time of her death earlier this year. Marion Gatland, one of May's best friends, had selected these prints by May from the hundreds which had been produced during her membership of the Society. Marion had also arranged for three of May's relatives to attend in order to have the opportunity to view this tribute to her. They were greeted by members who had known May over many years and who had admired her work. The relatives expressed their appreciation for this tribute, the opportunity to see the pictures on display and to hear of the high regard in which May was held by Society members.

The following photographs were taken at the event -

May's relatives – Niece Becky, nephew Mark and Mark's wife Jo

General view and part of May's display) © Copyright Peter Flower

As will be seen from the photograph, this special exhibit was accompanied by a printed tribute to May, with her photograph by Marion Gatland. It contained the following text -

“This exhibit contains just a small selection of the many superb black and white photographic prints that May produced during the 33 years that she was a member of Reigate Photographic Society. The quality of her photographs resulted in her winning numerous awards and having her prints shown at so many exhibitions over the years. Indeed, the print 'Bus Stop, Canary Wharf' was one of a panel that contributed to the society's success in a 2012 inter-club competition.

Black and white photography was her passion. The prints were made in the darkroom right up to recent times, even when digital technology was taking over.

May was an extremely active person in society activities, serving in various different committee roles. Even as a general member she contributed so much, welcoming newcomers and sharing her extensive knowledge of photographic techniques. Looking back on this record, it is a truly humbling reminder of the debt that the society owes to May.

We hope that you enjoy viewing these photographs. They are shown as a tribute to May and as a reminder to those of us in the society of a lovely person whose friendship and company we enjoyed over so many years.”

Reaction to the special May Savage tribute display

At the beginning of the meeting on 31 October Marion Gatland made a brief announcement regarding the visit of May's relatives to the exhibition. She said that they had been impressed by the display and overwhelmed by the warm tributes made by the society members that they had talked to. She also announced that they would be donating a trophy to the society. We will keep you informed on this when further detail is available, but it seems that this could be rather special.

Winner of the Public Vote

About 150 votes for their favourite print in the exhibition were received from visitors. Colin Hodsdon announced the results at the 31 October meeting. It was a very close-run thing with a number of prints sharing the lead with three points. However, there was one ballot paper that Colin had difficulty in deciphering. Eventually he was able to define that the very spidery writing on the slip 'L A M' was obviously from a very young child and that this gave the deciding vote for the picture shown below -

© Copyright Tony Peacock

Match-a-PDI Competition with Dorking – 24 October 2016

Report by Lester Hicks

An autumn Match-a-PDI competition with Dorking seems on course to being a regular fixture on our programme. We hosted the 2016 event on 24th October, when a full house of Reigate and Dorking members had another most enjoyable evening. The lead swung to-and-fro, but this time we came out narrowly as winners by 42 points to 40, after our defeats in 2014 and 2015.

David Mendus (Bookham) was an excellent judge, long experienced in these light-hearted events. He responded with apt humour to the audience’s good-natured banter and challenge over the claimed matches and his choices of the better of the matched images.

We were treated to special, indeed lavish, refreshments at the break, and thanks go to all from Reigate who contributed to that. Thanks, too, to John Fisher for organising our bank of images, assisted in their selection by Mark Thomas, Simeon Jones and Jill Flower. On the evening Mark and Simeon took care of the choice of selections and responding matches images to display, whilst Jill operated the projection process.

Some of our images, chosen at random, are shown below -

Match-a-Slide – A story from the past

Peter Flower

The competition reported on above originated from the formula for similar events many years ago when film was king. In those days there would be a three-way competition using colour transparencies. During the competition these would be viewed and selected from large light-boxes on the table, shielded from view of competing teams by a cover in between rounds. In common with the recent event, the choice of judge was all-important. It was necessary for them to get into the spirit of the event. On one occasion this went above and beyond the expected level of participation, as will be illustrated by the following record of events. At the last round before the refreshment break an image of a bright red London Routemaster double-decker bus was projected for the other teams to match. In response the other two teams put up almost identical images of red Routemaster buses. There was a gasp of amazement, laughter and applause from the audience! The judge duly announced a complete match and awarded points accordingly. The explanation for this amazing outcome? At the beginning of the meeting the judge had supplied each team with almost identical transparencies of the same image, with instructions that when the last round prior to the break was called the challengers should put up his slide. A truly memorable evening!

Set Subject Competion results – Numbers

Stephen Hewes announced the results at the Saturday Natter on 5 November. The overall winner was Jill Flower, with Pete Welch coming a close second. Their images are shown below.

                                                        © Jill Flower                                          Pete Welch

As the winner Jill has chosen the subject for the next competition – 'The Journey'

And finally . . . . .

A fun image, but here for a purpose.

A chance to take your own special photograph of a supermoon. If you only see one astronomical event this year, make it the November supermoon, when the Moon will be the closest to Earth it’s been since January 1948. During the event, which will happen on the eve of November 14, the Moon will appear up to 14 percent bigger and 30 percent brighter than an average full moon. This is the closest the Moon will get to Earth until 25 November 2034, so you really don’t want to miss this one.