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CHELTENHAM CAMERA CLUB NEWSLETTER APRIL 2012

ISSUE 129 1

With only a few more weeks left of this CCC season wereflect on what a successful year it has been. There havebeen some outstanding guest speakers, the on-linecompetitions have gone from strength to strength, and thestandard of the Annual Exhibition was once again,excellent – particularly the entries from theGloucestershire Young Photographers. Many visitorssaid how good it is that the camera club encouragesyoung people and exhibits their work

Club membership is very healthy (at least thenumbers are!) with around 150 members. It’s been goodto see new members doing well in the competitions andgetting involved in the club.

The AGM on 31st May is everyone’s chance tocome along and have their say in how the club is run.

May 31st is also the last meeting until the newseason starts in September but keep logging on to theclub website for news, competitions and events. There are usually a few club visits over the summerperiod. At the time of publication of the newsletter there are none in the pipeline but listen forannouncements at meetings over the next few weeks and keep an eye on the website.

This will be my last time as newsletter editor. Thank you very much to all the contributorsover the past 3 years and please keep the articles coming! You can send them to the new editor [email protected]

Best wishes,Sandie Prowse

IINN FFOOCCUUSS www.CheltenhamCameraClub.co.uk

Permission to quote from or copy any material from this newsletter must be obtained from the editor. Opinionsexpressed in this newsletter are those of the contributor only: they do not necessarily reflect those of the club or itscommittee as a whole.

The Mystic © Colin Harrison

INSIDE

E T Wilson, the Founder of CCC by David Elder

My Journey with Photography by Kelli Evans

The Making of ‘The Mystic’ by Colin Harrison

Nature Photography in a Nutshell by Nicki Gwynn-Jones

CCC at the Mayor’s Parlour by Ian Gee

Depth of Field by Kevin Pascoe

Annual Exhibition Results

Forthcoming Exhibitions and Competitions

Regulars – Digital Dabbling by David Hyett and The Wider World by Wendy Outram


ISSUE 129 2

Spotlight on Dr. E. T. Wilson, Founder of the CheltenhamCamera Club by David Elder

When Dr. Edward Thomas Wilson, father ofDr. Edward Adrian Wilson (the Antarcticexplorer), died in 1918 his obituary read, "Noman has done so much as he to stimulate andpromote the intellectual life of the town ofCheltenham...".

As a medical practitioner during theVictorian and Edwardian periods hecontributed greatly to the health and well-being of the town, pioneering modern medicalpractices such as clean drinking water, districtnursing and isolation fever hospitals (e.g. atDelancey Hospital). However, his influenceon the town he adopted as home from 1859until his death in 1918 was far greater thansimply as a medical professional.

With a broad range of interests andexpertise spanning the Arts and Sciences hestruck a ‘Renaissance Man’ figure in localcircles, espousing numerous good causes,from helping to improve the living conditionsof the poor to campaigning vigorously for theestablishment of a free library, a museum andan art school. He also established various newclubs and societies, among which was theCheltenham Photographic Society which laterbecame known as Cheltenham Camera Cluband is the seventh oldest amateurphotographic society. He recorded this eventin his memoirs: “The year 1865 was amemorable one to me. I got back to

Cheltenham on January 3 and next day thefirst Photographic Society was started withDr. Abercrombie as President while I acted asSecretary”.

An early influence on hisphotography was Francis Frith (1822-1898),one of the most prolific travellingphotographers of the time, who was thebrother of his Aunt Susan. Although likeFrith he greatly enjoyed landscape andportrait photography, it was as an expert inphotomicrography where he made his name.Photomicrography, the process by which aphotograph is taken through a microscope toshow a magnified image of an object, at thattime was still in its infancy. Influenced byleading practitioners of the day Wilsondeveloped his own methodology forphotomicrography. He published numerousarticles on the subject and helped to make thedifficult techniques more accessible andaffordable to the ordinary man.

Although this short article can onlyprovide the briefest of insights into thisremarkable man, I am currently writing adetailed biography of him which will includemany examples of his photography. This willbe completed in time for the club’s 150th

anniversary celebrations which will start on 3January 2015.

AMAZING NEW GADGETS!Jessops has announced the arrival of the world’s first legless, hover tripod – the BallatronoPod retailing at £144.95. It uses the same ‘maglev’ technology seen in monorails. ThenoPod is placed on the ground and the camera is positioned over it at the desired height. Adial on the noPod is rotated to move and tilt the camera.Photobox advertised a gadget that prints onto toast! Pop your bread in the machine andone side toasts the bread while the other develops the image.Unfortunately, availability of both items was limited to one day only – April 1st.


ISSUE 129 3

My Journey with Photography – from all anglesby Kelli Evans

I have only a handful of pictures from my childhood.I have often wondered if the fascination of wishing Ihad more tangible evidence of my earliest memorieshas led to my own interest in photography.

I recently joined CCC and have foundeveryone so friendly and welcoming. Whenmembers ask me why I have joined, I find myselfexplaining to them how I have always enjoyed takingcreative images with my compact camera and howmy recent birthday request for a DSLR was fulfilled.I thought joining a club might help me to learn newtechniques, help me to create art which I enjoy and,more importantly, provide me with an enjoyablelifelong hobby.

However, a recent discussion highlighted tome that actually, my life has run parallel withphotography for years, in various ways…. Perhapsmy love of photography has been a way of life forme?

When I was 15, I was asked to joinBirmingham’s top model agency. Back then (unlike today’s models) I was taught how to applymake-up for studio and fashion show work. Understanding how lighting changes the way make-uplooks is vital; rarely did we have make-up artists on a shoot. I gained experience in Fashion andBeauty work and would quite often find myself in the studio, trying to create a great image, whilstholding a reflector out of shot or facing into a wind machine and trying not to look like my eyeswere about to stream.

My love of make-up and desire to create fabulous images saw me move away from the frontof the lens. I trained as hair and make-up artist, in London.I believe that a good make-up/hairartist’s job is to cut time in post-production/ Photoshop by creating looks that are great from theoutset. My previous experience also meant that I could help models by directing their poses andcutting down the potential for unsuccessful shots. I transferred this knowledge to the Bridal side ofmy make-up business. Make-up needs to last and stand up to all kinds of lighting on a weddingday. Brides always need to look and feel their very best all day and evening. If they don’t, it showsin their face and all of their pictures.

Just a couple of years ago, my career evolved further and I now work for a local cosmeticsmanufacturer. I am the only make-up artist in the company.

As much as I love my job, I have felt the need to return to my creative side through themedium of photography. I have not yet found myself back in the studio, purely because I feel Ihave lots of knowledge of this environment and I gain more from new experiences and feel happiestwhen I am learning something new. However, I am back in the wedding business… as anAssistant Photographer! It’s a great way to learn an awful lot about photography in a short amountof time.

As Scott Adams so rightly said ‘Creativity is allowing yourself to make mistakes. Art isknowing which ones to keep.’I look forward to making many photographic ‘mistakes’ in the name of art and I am alreadyenjoying this new ‘angle’ in my life’s journey with cameras… looking through the view finder!


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EXHIBITIONS

Nicki Gwynn-Jones ARPS

May 4th to 7th, Wilton CastleRoss on Wye

Nicki will be part of the Beckford Fine Artsexhibition in the walled garden at WiltonCastle.

This exhibition and the gardens will beopen to the general public with an entrance feeof £4 per adult payable on the door. The eventwill showcase the work of 40 professionalartists.

If you would like further details on theexhibition, opening times etc call 01989763399. [email protected]

May 23rd – 29th, Gardens Gallery,Montpellier Gardens, Cheltenham.

This is a joint exhibition with photographerFreddie Holding. Examples of Freddie’s workcan be seen on her website www.freddie-holding.com The gallery is open from10am -5pm. daily.

June 2nd – 10th Nature In Art,Twigworth, Gloucester

Nicki is exhibiting as part of the WildlifeArtists Society summer show. Contact Naturein Art for opening times. 01452 731422

She would love to see you at any, or all, ofthese events.Nicki is at www.abirdseyeview.co.uk

3rd –31st May - BristolFestival of Photography

This biennial event will be held at venuesaround the city and will comprise;

100 plus exhibitions frominternational and local artists

A series of talks throughout thefestival period

Family-friendly events Finalist exhibitions of their open

submission competitions – RGBAwards and The Lomo Show

Workshops and learningopportunities, including black &white photography, salt printing,cyanotypes and wetplate collodionprocesses

See www.bfop.org for details – programmeout mid April

Churchdown PhotographicThe Curve Gallery

Members of Leigh Preston and PeteJohnson’s Photography evening class areexhibiting their work in the Curve Gallery,Churchdown School, Winston Road,Churchdown GL3 2RB.

Exhibitors include several CCC members.Provisional dates 9th to 21st July. Please checkwith school for opening times. 01452 713340

Creative Photographers in Cheltenham (CPiC)22nd to 28th August, Gardens Gallery, Montpellier Gardens, Cheltenham.

CPiC was formed 2 years ago by members of a Creative Photography course at The University ofGloucestershire. They will be showing a selection of their contemporary and creative work. Thegroup includes several CCC members.


ISSUE 129 5

“THE MYSTIC” by Colin Harrison

I have been asked how I produced my “Mystic” image. It was quite a challenge producing theimage in the first place but trying to describe how I did it is almost proving just as difficult. Theysay a picture says a thousand words so I have included a few images to show how I produced theimage. Here goes……

Figs 1 and 2 show the original image taken at the Towersey Folk Festival last year and my maskedimage using the lasso in Photoshop. For the background I used images taken at WoodchesterManor, Fig 3 shows the montaged version.

My main problem for which I did not have a clue how to do it was to produce a new image on thesphere in the Mystic’s hand. Fig 4 and 5 shows the image I used to produce the sphere and usingFilter > Distort > Spherize in Photoshop a couple of times to produce the new sphere. Similarly thebackground spheres were produced and can been seen in Fig 6.

Fig 1 Fig 2

Fig 3 Fig 4

Fig 6Fig 5


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Fig 7

Highlights were added to the spheres to add a bitmore reality. Please note that the images on thespheres end up upside down and reversed comparedwith the original image.

Having all the images on separate layersmeant I could rescale parts of the images as I wentalong.

People often ask me if I plan my montagesin advance; the answer is no. With my Mysticimage I was quite excited when I took the imageand knew I would work on it eventually but did nothave a clue how the final image would work out.I send my images to many countries in the world,

and my Mystic image has been accepted in International Salons in France, Denmark, Serbia,Hungary, America and in this country. I was extremely pleased that my Mystic image won the bestimage in the CCC Annual Exhibition.

All images © Colin Harrison

COMPETITIONS

The London SalonThe London Salon invites you to enter prints for its 101st Exhibition to be shown in variousvenues including London area, Birmingham, Edinburgh and Ireland.Full details of entry and previous Exhibitions can be found on The London Salon website:www.londonsalon.org. Entry and payment can be made on-line; prints can be mounted orunmounted.The closing date for on-line submission is April 22nd and all prints must be received by April27th. All accepted entries will be displayed on The London Salon website and a full colourcatalogue sent to all entrants.

The Royal Photographic Society – Celebrate a Summer of SportThe Royal Photographic Society has launched a national competition, open to everyone, on thetheme of sport. Entries opened on 1st April and the closing date is September 30th.

Celebrate a Summer of Sport consists of two competitions both themed around sport inits broadest sense and ties in with the London 2012 Olympics.

There are over £6000 worth of Panasonic cameras - including the top GH3 model towin. In additional the winners from each competition and selected entries will form part of twopublic exhibitions that will take place in August and November as part of the 2012 CulturalOlympiad.Take a look at the competition website at: www.imagecomp.org and upload your images thatbest convey your interpretation of ‘sport for all’ and, from 1 July, ‘the spirit of the games’.

Images can be uploaded from a phone or camera. For the selectors (who include well-known sports photographers) the image itself will be more important than how it was taken.


ISSUE 129 7

Nature Photography in a NutshellA short guide to getting the best out of your wildlife photography experience by

Nicki Gwynn-Jones ARPS

1) Buy the best quality lens that you canafford – it really does make a difference –then practise practise practise!!!2) Look at lots of images and study hard!!There is a wealth of information available tohelp you. See below for details.3) Attend a workshop in the wild –photographing captive birds and animals canbe fun and is good for learning in-cameracomposition and for practising flight shots butit does nothing to prepare you forphotographing creatures that are wild andfree. Being in the company of a topprofessional on location came as a real shock– I learned what it took to get the shot and itwas tough…those lessons have stayed withme.4) Know your subject – interestingbehaviour can often be anticipated. It isimportant that you feel an emotionalconnection with what you are photographing– if you don’t feel it then nobody else will.When photographing shore birds, gettingdown on the ground gives a great perspective

and if you can make eye contact so much thebetter. Pay attention to your backgrounds –try to avoid clutter and also ugly lines passingthrough your subject! Never put yoursubjects under stress by getting too close orby making loud noises.5) Know your kit and be able to change yoursettings quickly. You should be able to dothis on the fly – as you are lifting your camerato make the shot. Lighting conditions canchange every few seconds and you need to beable to respond. Learn to be comfortable inAV mode (for control of depth of field), TVmode (for sharp flight shots I’d be wanting ashutter speed of at least 1/1250th sec) and alsomanual mode. (I tend to use this when thelighting conditions are very challenging, ie invery bright light when working with whitesubjects).6) Understand exposure theory. This isvital….do you know how to deal with lightbirds on dark backgrounds? Or dark birds onlight backgrounds? Or high key andsilhouette opportunities? You get mydrift…aim to get it right in-camera – savestime afterwards! Remember to bump up theISO in low light and to lower it in bright light,otherwise your highlights will beblown…keep checking your histogram andexpose to the right as much as you can – youwill have far more information in your rawfile if you do.7) Great light (ie dawn and dusk) canproduce spectacular images, so use it…be atyour target location before dawn and stayuntil after nightfall. If the light is flat orbright-overcast high key is the way to go.You will need to expose to the right – a lot -(ie overexpose) in order to render thebackgrounds white, as the camera will want tomake them grey.8) Consider the angle of the sun (if there isany!) to your subject. Some professionals saythat you should always photograph with thesun at your back, but this can produce images


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that look flat. Side lighting can be moody andinteresting and back lighting can be used togreat dramatic effect, either by underexposingor overexposing.9) If you are wanting to photograph birdsin flight then you must also consider thedirection of the wind. Birds will land andtake off into the wind (like an aircraft), so youwill need to position yourself accordingly. Beprepared to get wet and dirty and dressaccordingly – this is not a glamorousoccupation and if you arrive back at yourvehicle muddy and/or wet you will know thatyou have given it your best effort!10) Think creatively! There is so muchnature photography out there and so Iencourage you to find another way to say it.For example, how do you feel about what youare photographing? What is the essence ofyour subject? Consider revealing what it ’be’rather than what it ‘is’. Look for interestingreflections or patches of colour on water. Ifyou usually shoot with the sun at your back,do something different. Try doing blurs; setthe ISO as low as you can and thenexperiment with various shutter speeds. Thiscan be very hit and miss, but if you don’ttry…and in low light, this might be your onlyoption…Most importantly, have fun…and don’t giveup when the going gets tough – the bestimages are often made in the mostchallenging conditions! You can see a rangeof different types of bird imagery on mywebsite at www.abirdseyeview.co.uk (Notquite up to date!!)

Some useful resources:Arthur Morris www.birdsasart.com. Hisbook ‘The Art of Bird Photography’ waswritten for users of film, but it is stillprobably the seminal work on the subject. Ihave read it cover to cover several times. Hehas now written a version for digitalphotographers which you can purchase anddownload from his online store,

www.birdphotographers.net. I found thisforum to be a really great place to learn whenI first started. It covers all aspects of wildlifephotography and comments such as ‘greatshot’ are strongly discouraged, so you shouldget feedback on your images that ismeaningful and that enables you to learnquickly if you apply yourself. I’d recommendstarting in the ‘Eager to Learn’ section.

www.natures-images.co.uk. This is a UKbased company run by Mark Sisson andDanny Green, offering wildlife photographyworkshops both here and abroad. I canpersonally recommend them – I travelled toHolland with them in 2010 and was reallyimpressed. Their organisation was faultlessand they worked extremely hard to make surethat we all got the images that we wanted.Really nice guys too!

www.deepgreenphotography.com.I travelled to Costa Rica with this company,run by an American called Greg Basco .Simply amazing…I had an incredibleexperience. Do check out his website ifnothing else and his blog is really useful too.

Finally, any book from the ‘WildlifePhotographer of the Year’ series.‘LivingLandscapes’ by Andy Rouse.

Local Photos WantedNorman Hindmarsh informs usthat MyCountry.co.uk islooking for photos of localareas. The organisation is aboutpromoting the best parts of theUK, showing off each town andvillage's best points but alsoabout getting people moreinvolved in their communities.For more information go towww.mycountry.co.uk.


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CCC at the Mayor’s Parlour by Ian Gee

At the Exhibition Opening the Mayor saidshe would invite the trophy winners to theMayor's Parlour and true to her word shedid this a few weeks later. Those invitedwondered just what it meant and werevery pleasantly surprised. CouncillorBarbara Driver was a splendid host,showing us various items in the parlourand explaining their origin. The youngestaward winner, Joe Vine who was theJunior School Gloucestershire YoungPhotographer of the Year was given theopportunity to hold the Mace and wear thechain, and when jokingly Rob Duncalfasked about the official robes, the Mayorinsisted he tried them on. He cut a finefigure in the red coat and no doubt now

has new career ambitions for when he eventually comes down to earth.The party then moved to the Council Chamber where Joe was installed in the Chair and

awkward squad member NickiGwynn-Jones demanded freechocolate from the Council forresidents of Cheltenham. The actingmayor firmly said no.The Mayor said she was shortly tomake a visit (at her own expense) toone of Cheltenham's twin towns, Wei-hai in NE China. She asked the club toprovide her with a couple of prints ofCheltenham to take as gifts and wewere happy to oblige. Can we nowexpect a club battle with the cameraclub (if any) of Wei-hai? We awaitfurther developments.

Top picture l to rRob Duncalf, Ewa Makas, Martin Fry, The Mayor Councillor Barbara Driver, Joe Vine, Andy Roberts, NickiGwynn-Jones, Sofiya Finbow

Photographs © Ian Gee

OBITUARIESWe have learned that previous CCC members Robert Lindsay and Doug Moir have diedrecently. Doug was a member of the club for many years and Exhibition Secretary at onetime. He was a keen slide worker and belonged to the Slide Portfolio for a while. Doug madethe slide display cases for our Annual Exhibition. He enjoyed photographing historic housesand gardens and was also a talented artist.


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Digital Dabbling – Dave Hyett CPAGB AFIAP BPE1*The good news is that Lightroom 4 has beenreleased at less than half the price of theprevious version. The even better news is thatit has some real improvements. However, thebad news is that many are reporting bugs andproblems with this version. These bugs rangefrom it running very slow to not convertingthe previous catalogue correctly. In particularthe slow speeds seem to be affecting Macsmore but many PC users are alsocomplaining.

The conversion of the previouscatalogue can result in some of the previousediting not being converted correctly.However, Adobe are saying that theconversion from Process Version (PV) 2010to the new PV2012 is fine so this is onlyaffecting earlier versions. When I firstupgraded from LR2 to LR3, it offered toupgrade all my catalogue from the thenPV2003 to PV2010 (which I did) so I expectmy catalogue to convert to PV2012 OK.

If you have not converted all of yourLR3 files to PV2010, you should considerdoing so before upgrading to LR4. Even so, Ihave decided to wait a little longer beforeupgrading as I am sure Adobe will bereleasing a fix for many of the bugs.

We saw some brilliant slides recently byDuncan McEwan. I suspect that we have notseen slides at the Club for about three years asI had to undertake an electrical safety checkon the slide projector because it had not beenused for years. It was clear that Duncan is afirst class landscape photographer and that allhis images were optimum for slide media.Duncan was well aware of the limiteddynamic range of slide film and usedtechniques such as graduated filters andavoiding the sky to get the best from the

limitations of slide film. Even so some of thehigh contrast scenes meant that Duncan had toaccept blocked shadows to avoid highlightburn out.

This is something that most memberswho used to use slides will be familiar with.Slide film is limited to only 5 to 6 stops so abright sunlit landscape (particularly withsnow capped mountains or taken into the sun)will have a dynamic range of around 12 stops(sometimes higher). With a modern DSLRyou should have a sensor dynamic range ofaround 11 stops so should be able to handlethe high contrast in most cases even withoutgraduated filters. However, this would onlybe true for Raw files and if you were preparedto make some adjustments in the Raw editor.

Another option is to bracket and takemultiple exposures (true for JPEG as well)which can be combined in various ways tocope with the high dynamic range of thescene. Unfortunately this is where manyphotographers get carried away and overapply the dynamic range recovery and mayend up with a surreal rather than a naturalscene. Both Photomatix and particularlyOloneo HDR software have settings whichcope with the high dynamic range but can stillrender a natural looking scene.

When photographing into the sun,while we might like a little shadow detail(because we can see it ourselves), we shouldsurely avoid the shadow being rendered at thesame tonal level as the lit areas. LastDecember, Guy Edwardes showed us someexcellent techniques where he capturedmultiple Raw exposures and combined theimages in Photoshop with layers and a softerase brush thus capturing the high dynamicrange but still rendering natural tones andcolours.


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I have seen much discussion about Mirrorlessv SLR so was curious to find out a little moreabout this given that some were suggestingthat SLR’s may disappear. Those of you withSLR cameras will be aware that the imagepasses through the lens and is reflected by a45 degree mirror up towards a glasspentaprism which presents the image the rightway up in the viewfinder. When you press theshutter, the mirror is flipped up just before theshutter opens so the image now falls on thesensor (or film) behind. This is attractive to aphotographer in that you can see exactly whatwill be captured before pressing the shutter.This disadvantage is that to include the mirrorand pentaprism requires the camera to bemuch deeper and the distance from the rear ofthe lens to the sensor to be much larger.This apparently sets more challenges for lensdesign.

In summary, a lower cost lens on a mirrorlesscamera can produce the same quality image.It is therefore cheaper to manufacturemirrorless cameras and lenses and they aresmaller and lighter. The question is whetherSLR users are still prepared to pay more forthis style of camera in the longer term?

In the last In Focus, I mentioned ScottKelby’s appeal to Adobe to allow upgrades toPS CS6 from versions CS3/4/5 and felt itunlikely that Adobe would listen but they didand we now understand that we will be able toupgrade to CS6. However, there may well bea higher price to pay for those with versionsearlier than CS5. You can now download aBeta test version of CS6 and Lynda.com areoffering a free tutorial on the new features.

AWARDS

Sofiya FinbowIn addition to her successes at the Southport National Exhibition and the MidlandsCounties Photographic Federation (MIDPHOT) (see page 14) and in the CCC Exhibition(page 15) Sofiya has been awarded an Honourable Mention at the Holland InternationalImage Circuit and an Honourable Mention at the Bristol International Salon ofPhotography.

Sofiya also had 3 images accepted at the Smethwick International Exhibition at theend of last year. Unfortunately this was omitted from the last newsletter. Apologies for thatand many congratulations on all your successes, Sofiya – it’s been a great season for you!

David RossThe Photographic Society of America (PSA) is pleased to announce that David Ross,PPSA has been awarded the Proficiency Distinction (PPSA) in recognition of hisphotographic achievement record in PSA-recognized International Exhibitions ofphotography. To qualify for the Proficiency Distinction, 288 or more acceptances arerequired. The award Certificate will be presented at the 2012 PSA International Conferencein San Francisco, California, USA this coming September. The award includes aninvitation to submit a sample of work to the PPSA Gallery on the PSA web site.

Visit the PSA web site at www.psa-photo.org to learn more about PSA. Check backlater to view David's PPSA Gallery when he has it up on the web site.


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Depth of Field by Kevin Pascoe

In March I gave a talk to the Digital ImagingGroup on the topic of Depth of Field (DoF).The talk was presented in two parts – firstly, Iaddressed the subject of lens and digitalcamera optics, and secondly, how tomanipulate the resulting DoF in Adobe’sPhotoshop (CS5) if it didn’t quite turn out theway the photographer had intended.Lens and Digital Camera Optics

Now a talk on Depth of Field mightseem unexpected for some, given that as keenphotographers, most of us would already bereasonably familiar with the subject.However, several recent competition judgeshave remarked on DoF issues with somesubmitted images, and secondly, I thoughtthat that whilst the overall subject mattermight already be familiar to many, the way inwhich I intended to address it would probablybring some new perspectives.

Using a simple lens diagram, Iidentified the important measures of lensfocal length (f) (defined for a lens focused atinfinity)/ subject focus lengths (identified fora lens focused at distances closer thaninfinity), and how these - together with thedistance in front of the lens to the chosensubject (plane) of focus (s) - relate to oneanother according to the so-called ‘simplelens equation’.

The limiting diameter for the circle ofconfusion (CoC) is typically calculated usingassumptions for the level of human visualacuity, accounting for the conditions underwhich the image is viewed, and the extent towhich an image would be enlarged from itsoriginal size (being the digital camera sensorsize), to its finally viewed size. The resultingCoC value is then combined with a selectedlens focal length (f), aperture diameter(normally expressed as f/number) and – again- the distance to the subject of focus (s), togenerate the near and far field focus limits,together with the resulting DoF.

Using a spreadsheet approach, Iillustrated how the relative contribution of ‘f’,‘s’, ‘f/-’ & sensor size to defining DoF

depends on where we sample them - especiallywhen approaching the hyperfocal distance. Fora given sensor size, DoF is more stronglyimpacted individually by lens focal length (f),and distance to subject (s), than it is byaperture diameter (f/-) – although for a givencomposition (e.g. if we halve the focal length(f) and halve the distance to subject (s)), ‘f’and ‘s’ tend to counteract one another - exceptat small focal lengths – which is why mostfolks think of f/- when considering DoF.

Whilst the limiting diameter for theCoC is linearly related to sensor size (whichcan be expressed as a ‘crop factor’), DoF isnot. DoF is actually related to the square rootof the crop factor….. That is, even whencompensating for f using the crop factor, anAPS-C sensor camera will give a longer DoFthan will a full frame sensor camera – and, fora given size lens, a digital camera fitted withan APS-C sensor will reach its hyperfocaldistance (for a given f/-) sooner than will aDSLR fitted with a full frame sensor.

Perhaps unexpectedly, I was able todemonstrate a DoF relationship (other thanaperture) between ‘f’ and ‘f/-’, if distance tosubject and sensor size are held unchanged.That is, if we change f/- by 1 stop, we canachieve an unchanged DoF by adjusting ‘f’ bya predictable amount. Using this interestingoutcome, it’s possible to generate a relativelysimple set of curves to completely describeDoF for any combination of ‘f’, ‘f/-‘, ‘s’ anddigital camera sensor. I have printed andlaminated such charts for use with my owncameras, when needed.Depth of Field Manipulation in Photoshop(CS5)The main reason for delving into Depth ofField was that I’d completely messed it up foran important photo whilst on holiday about ayear ago. I didn’t then have the benefit ofknowledge now shared. Upon return fromholiday, I purchased Photoshop (CS5) andspent many a frustrated evening learning howto use it. The intent of my talk was to sharethe knowledge gained so as to obviate other DI


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Group members from having to enduresimilar frustrations – at least in respect ofadjusting DoF.

The technique demonstrated allows thephotographer to reduce DoF for a selectedimage - after the fact, using various CS5Selection Tools (lasso, magnetic lasso,polygonal lasso, magic wand, and quickselection tools, as necessary); Layers;Content Aware Fill; Layer Masks; Gradientfill; Channels, and; Lens Blur. I chose aphoto of dragons taken at a Chinese temple inThailand as my subject, and employed thefollowing bullet list of actions to significantlyreduce DoF:

Copy the target layer. Select the subject, use very small

feather and anti-aliasing. Use Cmnd J tocreate new layer containing the subject.(Note that I use a Mac. I think theequivalent keyboard target when usingWindows is ‘Cnrl J’). The selectionprocess is normally the most time-consuming element when applying thesubject procedure.

Select the previous layer, as this is the layerwe wish to blur. But, to avoid edgecontamination when blurring, removeproblematic edges. Use ‘Cmnd click’ onthe subject from the new layer to regain theselection, then enlarge it by (say) 10 pixelsso as to ‘clear’ the edges – using the‘Modify Selection’ tool. Then use Content-Aware fill to overwrite the selection for amore blur-friendly result.

Add a new layer, and insert a linearGradient dragging from black to white:white will blur, black will not. Thegradient is used to specify the focal plane(the black area of the gradient), and therate at which blurring will occur awayfrom it.

Create a new channel in the ChannelsPallet and copy / paste the blurringgradient from its layer, into the newchannel (automatically named “Alpha 1”).

Return to the Layers pallet and select thelayer with the ‘content-aware’ fill – this isthe layer we will use for the backgroundblur.

On the Filters menu, select Lens Blur. Inthe lens blur window - under Source -choose the new Alpha 1 channel – thisnow defines the focal plane, and howblurring will progress away from it.Choose the maximum amount of blurdesired using the ‘Iris’ slider – and thenexecute the blur.

Overlay the main subject (the dragons)layer onto the blurred background layer togain the end result.

Using ‘Adjustment Layers’, brighten-upthe foreground (the dragons) a touch anddarken down the background a touch, toreally make the dragons stand out.

I realise that the above précis may be a bitbrief for new CS5 users, and I’m quite happyto provide additional help if needed. Just comealong to the club on a Thursday evening, andask me.


ISSUE 129 14

THE WIDER WORLD by Wendy Outram

AN AUDIO-VISUAL DEFINITIONThe Photographic Alliance of Great Britainexecutive met in February 2012 and issuedthe following definition to be used by them inawarding CPAGBs, DPAGBs and MPAGBsfor AV work.“An AV Production submitted for a PAGBAward for Photographic Merit shouldpredominately consist of a sequence of stillphotographic images, the majority of suchimages being the original work of the entrant,together with a synchronised sound track.The use of third party images, animatedgraphics, video clips or other visual material,whilst not excluded, should be limited andappropriate to the production. Entrants mustconfirm that they have obtained legal consentfor the use of any visual or audio materialused in the production other than their ownoriginal content.”

THE WIDER WORLDThe Midphot AV competitions were held atthe Priory Centre, Stretton, near Burton-on-Trent not, as previously advertised here, atBraunstone, Leics. The new chairman of thisevent, Howard Bagshaw of Stafford AV,organised his team and the whole day verywell. If he can keep this up MCPF will haveanother very popular event, which willprobably be financially self-supporting. 31sequences were entered representing 14 clubs.This is an increase on last year and there wasa corresponding increase in attendees. ( Thisevent was held before PAGB News issued thedefinition above).

The main event was won by RichardBrown with The Man Who Saw the Future –a documentary on Logie-Baird. The MartinFry Trophy for the Audience Vote was wonby Howard Bagshaw with Ride to the Wall,which also received Suzanne Walker’s award.

MIDPHOT 2012The 49th Annual Exhibition of the MidlandCounties Photographic Federation was heldat The Old Schoolhouse, Churchbridge,Oldbury, Birmingham from 21st to 25th March.This was CCC’s most successful Midphot.

AWARDS went to:Martin Fry - Judges Medal and 1 AcceptanceColin Harrison - Best PDI, 1 Certificate ofMerit (Commended) and 2 acceptancesGraham Hodgkiss – 2 Certificates of merit(Commended) and 5 acceptancesSofiya Finbow – 1 Certificate of Merit(Highly Commended) and 3 AcceptancesRicardo Alarcon – 1 Certificate of Merit(Highly Commended) and 1 AcceptanceLinda Kirkhope – 1 Certificate of Merit(Highly Commended) and 1 Acceptence

Acceptances also went to - Jane Borland (3),Nicki Gwynn-Jones (3) Tony Parsons (3)David Adamson (2) David Hyett (2) BrianBates (1) Norman Evans (1) Aleks Gjika (1)

These are the bare statistics, but those whovisited the exhibition will appreciate how wellour club members did for the exhibition is, asalways, of a very high standard. It is limited tomembers of MCPF clubs, even so most of thework seen could well be accepted at Nationalexhibitions if not Internationals. Heartycongratulations to all.

SUCCESSESAt the Southport National Exhibition SofiyaFinbow was awarded a PAGB Ribbon for“Diana”.

BACK ISSUES OF IN FOCUSIssues 112 to the present are available on the CCC website. Issues 1 to 111 are available on DVD from theNewsletter Editor for a small donation to the Club.


ISSUE 129 15

2012 Annual Exhibition Results

David Adamson Water Lily Inter print -HCDavid Adamson Marbled White Butterfly with Red Parasites Nat Hist PDI - HCDavid Adamson Ticks on a Female Common Blue Butterfly Nat Hist PDI - CRicardo Alarcon Smoke Portrait PDI - CBrian Bates Pin Mill Bodnant Inter print - CGodfrey Bodenham Sailing Print set - Runner UpGodfrey Bodenham Moisture Seekers Nat Hist PDI - Runner UpJane Borland No More for the Sea Adv mono - Runner UpJane Borland Tranquil Adv print - HCJane Borland Waiting for the Tide Adv mono - CJane Borland The Face Adv print - CRon Cooper Lions in the Bush Nat Hist PDI - CRob Duncalf Wild Crocus Patch Nat Hist PDI - Bint CupRob Duncalf Snowy Owl - IBPC Newent Adv PDI - Runner UpRob Duncalf Dubai Expo Roof - Shanghai Expo Arch PDI -HCDavid Elder Ready to Play Inter print - HCDavid Elder Jean-paul Portrait print - CDavid Elder Je Je Portrait print - CSofiya Finbow Alicia Inter mono - George Dowty CupSofiya Finbow Giovanni Inter Print - Runner UpSofiya Finbow Above the Lake Portrait PDI - Runner UpSofiya Finbow Orchid Inter mono - HCSofiya Finbow Diana Inter PDI - HCSofiya Finbow Green Bottles Inter PDI - HCSofiya Finbow The Girl with Auburn Hair Inter print - HCSofiya Finbow Urban Solitude Inter PDI - CSandy Fothergill Hartland Point Inter PDI - CMartin Fry The Red Bridge Print set - TBS Cox CupMartin Fry Morning Mist, Coaley Peak Cots Rural PDI - Runner UpMartin Fry Herring Gull Nat Hist PDI - CIan Gee The White Piano Adv mono - HCNicki Gwynn-Jones Skateboard Heaven Adv print - SF Rood Challenge

TrophyNicki Gwynn-Jones Kung-Fu Ibis Creative print Runner UpNicki Gwynn-Jones Forster's Tern, Gulf of Mexico Nat Hist PDI - HCNicki Gwynn-Jones Reddish Egret Running in Surf Nat Hist print - HCColin Harrison The Mystic Creative PDI Lloyd Gregory Cup &

McCleery TrophyColin Harrison Cotswold Trees Cots Rural PDI Bernard Barker

TrophyColin Harrison Cromer Pier Adv PDI HT Llewellyn CupColin Harrison Last Smoke Portrait PDI - HCColin Harrison Dave the Undertaker Portrait PDI - HCColin Harrison Sunset Lorries Creative PDI - HCColin Harrison Fire Escape Arch PDI - HCGraham Hodgkiss What's Your Excuse? Adv mono - HCGraham Hodgkiss Monster Energy Adv PDI - HCGraham Hodgkiss Sad Face Adv print - HCGraham Hodgkiss Maisie Portrait PDI -CGraham Hodgkiss Isobel Portrait PDI - CRos Howard Shelley Saucers...and Cups. PDI set TH Thompson Cup


ISSUE 129 16

Ros Howard Munich Surfer Inter PDI Runner UpDavid Hyett Racer Adv PDI - HCDavid Hyett Leah Portrait print - HCDavid Hyett Why Us? Creative print - HCPaul Jay Ignored Adv mono Eric Williams CupPaul Jay Ready Steady Portrait print - HCPaul Jay Banded Mongoose (Mungos Mungo) Nat Hist print - CLinda Kirkhope Geothermal Activity PDI set Runner UpLinda Kirkhope Ngararatuatara Hot Pool, Rotorua Nat Hist PDI - HCMichael Krier Splash Adv PDI - HCMichael Krier St. Patrick's Day, Cheltenham PDI set - HCMichael Krier Winter Lines, Taddington Cots Rural PDI - HCMichael Krier Winter Ash Creative PDI - CEwa Makas Shrinking Yourself Inter PDI J Shenton ShieldEwa Makas Fairyland Inter mono - Runner UpPeter Makas St. John's Apocalypse Creative PDI - CCaroline Marsh Ballerina Creative PDI - HCCaroline Marsh The Infinite Cycle of Life Inter PDI - CRichard McCleery Jump - French Alps Adv print Runner UpRichard McCleery Frank Gehry's Guggenheim Arch PDI Runner UpRichard McCleery Spring Onions Creative PDI - HCRichard McCleery Great Library - Alexandria Arch PDI - HCRichard McCleery Foul Adv PDI - CRichard McCleery Renewable Energy Adv print - CRichard McCleery Fish and Chips Creative PDI - CRon Pattinson Watch Out!.... Here Comes the Gaffer! Adv print - HCRon Pattinson Inner Light Creative print - HCDavid Pearce Pictures of Lilies Inter Print Cavendish House CupDavid Pearce Steve Portrait print Jay CupAndy Roberts Natural History Museum Arch PDI Civic AwardAndy Roberts Top of the London Eye Inter PDI - HCAndy Roberts Cold Winter Night on the Southbank Inter PDI - CAndy Roberts Watching the Eclipse Inter PDI - CBrian Swinyard Clematis Adv PDI -CBrian Swinyard Dahlia in Full Bloom Creative PDI - CJoe Walsh Lilly Pond - Three Views Print set - HCJohn Weston Norwegian Panorama Inter PDI - HCJohn Weston Galleria Umberto I, Naples Arch print - HCKarin Wilson The Old Cockfighter Inter PDI - CKarin Wilson Owlet in Clover Nat Hist PDI - CJohn Woodland Clevedon Pier 2 Inter Print - CJohn Woodland Old Cinema Arch print - C

Adv mono – Advanced monochrome print Nat Hist – Natural HistoryAdv print – advanced colour print Arch - ArchitectureAdv PDI – Advanced projected digital image Cots Rural – Cotswold Rural SceneInter mono – Intermediate monochrome print HC – Highly CommendedInter print – Intermediate colour print C - CommendedInter PDI – Intermediate projected digital imagePDI set – set of PDI images on a theme Print set – set of prints on a theme

april 2012 in focus - cheltenham camera club€¦ · of £4 per adult payable on the door. the...

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