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SHUTTERNEWS BOKSBURG CAMERA CLUB

Photo by Hannes Bronkhorst

IN THIS ISSUE:

UPCOMING SALONS

SALON RESULTS

CLUB WINNERS

On the road

PSSA AFFILIATED

February 2019

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Shutternews

Publisher: Boksburg Camera Club

Editor: Annemi Taljaard

Cover photo: Hannes Bronkhorst

Index From the chairman 2 About Boksburg Camera Club 3 Club Events and Birthdays 5 PSSA calendar 5 Set subjects and inspirations 6 Pygmy Photography 23 Bulletin board 26 Members list 27 BCC Service Desk 28 PSSA feature 30 Committee 2017 31 Features: High Contrast Nude Photography – How to light and shoot bodyscapes 8 Brag page 22 Winners: Cell phone winners 15 E-photography winners 16 Salon results 21

BOKSBURG CAMERA CLUB Visit our website: www.boksburgcameraclub.co.za Photo‐Vault‐Online‐Entries www.photovaultonline.com https://www.facebook.com/groups/ BANKING DETAILS: First National Bank Sunward Park Branch: 201209 Current account no: 62482721406

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From the chairman

I wish to extend a warm welcome to our new members that have joined our club. The whole committee and I wish you a long and satisfying membership with our club.

Every photographer ends up with a style they become known for. Most of the time, that means choosing a photographic genre like portraits, landscapes, wildlife, etc. That doesn’t mean you have to stick to the genre you choose exclusively. Even some of the greatest photographers of all time ventured outside their chosen specialty if there was a photo that was begging to be taken. But how should you choose your genre? There are a few different approaches you should consider when answering this question.

First, there is the mind of the businessman to consider. Lots of photographers do this. If you put “what kind of photographer” into google search, one of the first suggestions is “what kind of photographers make the most money.” However, there is a reason why this doesn’t work for most entrepreneurs: how much money you make does not have anything to do with the subject matter you shoot. Instead, it has to do with how well you shoot, and to a greater extent how good you are about bragging about your work.

If you decide to photograph weddings because you think wedding photographers make a lot of money, you should do it if you like that style of photography. If you don’t like what you do as an artist, you will grow to be resentful of your own creation, and that is the recipe for failure every time.

So, it’s not all-exclusive that one must be an artist as a photographer, but I would say that at least 99% of photographers consider themselves artists at least to some extent. It’s best to satisfy your artistic mind. Most people don’t become artists because of the high pay, but because they enjoy their medium, whether it is photography, painting, sculpting, or otherwise. Photographers take pictures of what they like and inspire them. Ansel Adams was an environmentalist, so it makes sense that he mostly enjoyed landscape photography. Capa was a photojournalist and Co-founder of Magnum Photos. He liked living on the edge and documenting atrocities of war, but that doesn't mean he didn't enjoy a pretty view every now and then.

Following this train of thought, maybe you should look through the photos you have taken and see what you like to photograph most often. Perhaps you like sunsets, or perhaps you like flowers, or you like wildlife. The first consideration when choosing a photography genre should be what you enjoy shooting most. Also consider choosing a style instead of a genre. Maybe you simply want to be known as a black and white photographer, but not specify the subject matter. Maybe you have a specific mood or emotion you enjoy portraying, no matter the subject. Take your time though–that’s perfectly okay. As always, keep those shutters clicking.

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About Boksburg Camera Club

Here is a summary of what you can expect to

see at our club meetings and hopefully it will

explain some of the frequently asked

questions that we get at the club. Should

you have any further queries please do not

hesitate to speak to one of our committee

members.

Opening of the Meeting:

Either the Chairman or the secretary will

open the meeting and discuss the latest

happenings and upcoming events.

The judge will then be introduced, and

he/she will present a short lecture with

examples of his/her own photos when

applicable. After this judging of images will

start. The points will be given as “Bronze,

Silver, Gold or COM”. The judge will also

give you feedback on how your photos can

be improved to obtain higher points in

future, where necessary. We will also break

for “supper” – please feel free to join us

after which judging will continue.

Definitions:

STAR: This indicates the level that the club

member is on. (For example – you will start

as a One Star worker).

AWARD: Our judge for the evening will call

out one of the following awards: “Bronze,

Silver, Gold or COM – Certificate of Merit.

Each award has a specified point associated

with the award.

SALON: A salon is a photographic

competition that members can enter. This

competition is sometimes held by other

clubs or is a national or international

competition. At these competitions, you can

win medals etc.

Our Club Levels or Star Ratings:

When you join our club, you start with a One

Star Rating. After you have been awarded a

certain amount of points you move up to the

next level or rating. You are required to

have a certain amount of points and gold

awards to move to the next star rating. Our

ratings are from One to Five Star Masters.

More details will be given to you on

enrolment as you will receive a copy of the

club rules.

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Awards:

CERTIFICATE OF MERIT (COM): is the highest

award = 5 points

GOLD AWARD: 3 points

SILVER AWARD: 2 points

BRONZE AWARD: 1 point

Set Subject for the Month:

There is a set subject competition that is held each month. The subject is a different topic each month and each member can enter one entry as an e- photograph. The judge will pick a winning photo from the 1 - 3-star workers and one winner from the 4 – 5-star workers. The extra points will be added to your grading sheets.

Photography Winners:

Once all the photos have been displayed a winner will be selected by the judge for each star rating. We send the winning photos to the Boksburg Advertiser for publication if they have space before publication. The winning images will also be published in the club’s newsletter, Shutternews

Certificates:

Members are given Certificates for their GOLD, COM and winning photos which will be emailed to you. The Boksburg Camera Club committee members will be more than willing to help you should you have any further queries. We are all like-minded people who have a love and passion for photography. This is a wonderful forum to be able to meet new people and to share your talents with people that want to learn.

Our Website www.boksburgcameraclub.co.za

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Club Events and Birthdays March

4- Kerry Mellet

Marie Botha

5- Laetitia Kenny

7- Alex Pawley

- Hannes Bronkhorst

9- Modelling photoshoot

11- Vivienne Murray

14- Fun evening

20- Club Evening

26-Ursula Herbst

April

1- Alan Driver

13- Macro workshop with Kitty Groenewald

14- Andre Koekemoer

21- Werner Jacobs

PSSA Salon Calendar 2/3/2019- Alberton PDI Salon

16/3/2019- Cape Town Internationsl PDI Salon

29/3/2019- 1st VSS Creative 4-in-1 Digital, Print, AV & School Salon

13/4/2019- Camera Club of Johannesburg PDI Salon

27/4/2019- 15th PSSA Up and Coming Competition

27/4/2019- Hibiscus PDI Salon

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Set subjects for 2019

January- Contrasting colours

February- Sunrise/Sunset

March- 50 Shades of Risqué (Bodyscapes)

April- Street photography

May- Birds

June- Macro

July- Food photography (Dark and Moody)

August- Moonscapes (Nightscapes ft moon)

September- Worms eye view

October- Portraiture (Pets-monochrome)

November- Trophy evening

Set subject Definition and inspiration for March: 50 Shades of Risqué

The aim of this subject is to use light to accentuate lines of the human body. Boudoir will

also be allowed.

Body scapes: Close up of the human form to create the impression of a landscape.

Boudoir: This is a style of photography where the model (usually female) is partially clothed

usually in lingerie.

Please note no pornographic images will be screened or scored for this subject.

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March: 50 Shades of Risqué

(Body scapes)

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Barry Kid

High contrast nude photography, often called bodyscapes can create beautiful photos for

both the beginner and experienced photographer alike. This tutorial and tutorial video will

hopefully shed some light on the subject and the technique that I use to create these

simple but elegant photographs.

Last night I was given the opportunity to give an impromptu class on lighting and how to set

up the lighting scenario. This started me thinking that it may be something worth writing

about. This same photography technique is also called bodyscapes. Some people call it low

key photography but by definition, the photos I use as examples aren’t low key. They are

high contrast. Low key, bodyscapes or high contrast nude photography it’s all just one small

portion of how to use different lighting setups to get the results you are looking for. To

shoot this technique you need not actually shoot nude. We can also shoot it with clothing

but in general, some skin is required. In the end what we are doing is placing the light

source at an acute angle to the subject. This creates highlight and shadow detail of the

subject’s curves and muscle tone.

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Nude bodyscapes photography is surprisingly simple and

can produce stunningly beautiful images.

Why Shoot High Contrast Nude Photography and Bodyscapes In the First Place

So, the question might be why bother with bodyscapes or nude photography at all?

Beautiful photos and a deceptively easy lighting set up are probably the best reasons for

shooting for shooting bodyscapes. Just as an example, for the photo of Ashley, below, I

used one simple light. A small strip light was used to light the subject. The light was placed

about 2 foot above and behind her. That’s it. Just one simple light.

Because of the ease and simplicity of the setup, high contrast nude photography is great for

beginners or photographers without a lot of experience. Setting up effective lighting can

boost confidence and prove that anyone can get great results. Hell, it need not even be

nude but high contrast photography in general. In the end, it’s all the same. For more

advanced photographers? Photographers that are capable of more advanced lighting

setups shouldn’t always feel the need to use them. Less can be more as the old saying goes.

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A Quick Side Note

A quick side note about the image above. As a rule, I tend not to be a big fan of selective

colour. The photo above, from 2009, is one of only two images I’ve applied selective colour

too in perhaps the last 10 years. Even so, I think it works here and I like the effect so, in the

end, I went with it.

High Contrast Nude Photography – Success or Failure

By success or failure, I’m asking if we are getting the results that we want and are we using

the best approach? As photographers, we get the shot in camera the way that we want?

Are we spending hours in Photoshop and post-production? With that in mind, we’ll start

with failure and some common mistakes.

Before we start it’s important to remember that no matter what anyone tells you there is

no right or wrong way to set up the light. If it works for you then it works for you. Even if

you do good work finding a better technique that reaches the same goal is always

beneficial. If we get in camera with little or no post-processing of the photos, it’s even

better. I’ve been shooting my high contrast nude photography and bodyscapes the same

way for about 7 years. If, however, I learned a new and better technique tomorrow I’d

switch in a heartbeat. There’s little point in hanging on to old techniques that aren’t

effective. With that said I have found two main problems people have that severely limits

their success.

Big Light and Greek Gods

None of us are Greek gods and You’re certainly not Zeus so there’s no sense in throwing

lightning bolts at your model.

First, they use way too much light. Sometimes they use umbrellas or large softboxes.

Sometimes they blast their model with huge amounts of light. Often, they will do both.

Look at it like this. None of us are Greek gods and you’re certainly not Zeus so there’s no

sense in throwing lightning bolts at your model. Lighting up the sky isn’t the answer. What

we want to do is just “kiss” the model with a touch of light. Just a soft little touch.

Turn back the power and use a small softbox or striplight. A strip light is great and allows us

complete control over the spill of the light. If you don’t have a strip light a small softbox will

work fine. The softbox we choose depends on how much light we want to wrap around our

subject. I almost always prefer a small softbox or strip light. As stated above you also want

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to light your model from behind rather than the front. The light should just graze across the

model’s skin. For that reason, you want the light to be low and pointing back at you rather

than shining down on the model. This will create the deep shadows and pull out muscle

detail and shape of the model’s figure.

One light black and white, nude bodyscape photography of Carly.

A sincere thank you to:

Jeff Bangert of Jeff Michaels Photography and Carly Shea for being our model.

Big Backgrounds and Fall Off of Light

There are& all sorts of fancy and expensive background materials on the market. My choice

is muslin. I like muslin because it’s cheap, durable, washable, easily replaced and gets the

job done.

The next issue people have with high contrast nude photography is a failure to create a fast

fall-off of light. To get your head around light fall off you can have to peek the link. For the

short version, all we need to do is unlearn everything you already know about light. We

want to pretend that it acts differently and use that concept to get our results. Every school

kid knows that if you shine a flashlight up into the sky the light that comes out of the end

will go on forever. Two billion or three billion years from now that light will still be speeding

through our universe.

As photographers, we are going to pretend that this is not the case and that light will only

travel so far. In fact, we are going to set up our lighting so that light ends when and where

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we want. Our light will only travel 2 or 3 feet before we command it to abruptly stop.

Controlling our light is the real key to getting the shot in camera without the need for post-

production in Photoshop. This is accomplished with the type of background we use, the

way the background is set up and the intensity of light vs. the aperture we are using.

I don’t have any photos of the setup

Now, since I don’t have any photos of the set up handy, I’m going to do my best to explain

it for you. First, we are going to talk about bodyscapes where the model, in most cases, is

laying down on a flat surface. If you shoot on a large backdrop, you’ll have more surface

area that will be illuminated by the light. If your model is laying down a large backdrop like

paper or muslin that’s stretched out on the floor it’ll cause two problems.

Don’t place your model on a large surface

The surface that the model is on will be too large. This will give a huge area that will reflect

light back onto the camera’s sensor. I’m assuming that you’re shooting digital here. If

you’re shooting film, then substitute sensor with film and keep marching on. For our

purpose, it’s the same. If you are using a material that reflects light, even more, something

like black paper, then you will get even more reflection and your background will be

completely visible in the photo. Myself, I prefer to use black muslin. I buy it in 10 x 20-foot

sections. It’s porous enough that it’s subtractive, absorbs most of the light, and if used

properly has little or no reflection. There are all sorts of fancy and expensive background

materials on the market, but muslin is cheap, durable, easily replaced and works well so I go

with that.

If you don’t have muslin you can always use a black sheet for your model to lay on. I know,

I know. Real photographers don’t use bed sheets. They say it’s something that is reserved

only for your local GWC! People are full of shit! We aren’t going to use a wrinkled black

sheet as a background. We’re simply laying down a clean non-reflective surface for your

model to lay on. It’s effective and will do the trick just as well as anything else. You

shouldn’t worry about keeping up with the Joneses but rather do what needs to be done.

We’re also talking about shooting quality high contrast nude photography. What we are not

talking about is keeping up with the Jones’s or investing in expensive equipment. If you

decide to invest in high-grade subtractive backgrounds that’s fine but in truth, much of it is

completely unnecessary.

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Raise the model up

The next thing we want to do is raise our model up off the floor and place them on a small

surface. This is easily the most important step to get the shot in camera. A table or even a

small folding table will do the trick. You want the table to be heavy enough to support your

model’s weight safely. Don’t go setting her up on a TV tray or anything flimsy. You don’t

want to hurt her! Once you have your table sitting on top of your black background just

cover it with a black muslin or sheet. This reduces the size of the reflective surface to just

slightly larger than the model.

A higher surface also raises your model up, so you are not only shooting from a more

comfortable position. You can also set your light at an acute angle rather than beaming

straight down. For the image below Dani was actually laying on her side on a table and lit by

a single small softbox from behind. I rotated the image in post because “it felt better” that

way.

Above is a high contrast nude photography image or bodyscape of Dani. Below you can see

a lighting diagram used for this shot. Minus the table, she was laying on. It’s about as simple

as it gets.

You can see my basic high contrast nude photography lighting setup above. I use it for

nearly all of the bodyscapes I shoot. For the diagram to be correct the ball should be

propped up on a table. Unfortunately, the little lighting diagram builder has no tables etc.

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Setting Your Exposure

Use one light as your main light that will graze across the model’s skin and bring out detail.

Now that you have your background and lights set up it’s almost time to start shooting.

First, however, we need to get the proper exposure. It’s not important what you use to get

the exposure. Whether you use a grey card or an exposure meter it all comes out basically

the same in the end. Anyway, you’ll want to check the exposure of your light but as we’ve

already pointed out you aren’t Zeus so there’s no point maxing out your light source. It’s

not so important where you start but if, for example, your light is firing 1/125 at f/4.0 you’ll

want to set your camera to 1/125 at f/5.6 or even as high as f/7.1. This will allow you to

crush the blacks in the shadow region so that you can’t see your background.

When the light is so close to the model her skin will still be properly exposed but the black

fabric she is laying will be underexposed. This is a good thing and the exact effect that we

want. If your model is standing the same applies.

Just “kiss” your model with light

If you’re using two lights keep both behind your model. Use one light as your main light

that will graze across the model’s skin and bring out detail. Use the other as a kicker or rim

light. I’d personally set the rim light at half the power of the main light but that’s just me.

What you do is your choice but always just “kiss” your model with light. A soft little peck is

all it takes. Never blast her with it and certainly don’t go tossing lightning bolts around. That

about wraps up my little tutorial on bodyscapes and high contrast nude photography for

now.

Unlike most of my bodyscape photography this shot of Natasha, above, had the light

directly overhead rather than behind.

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Cell phone Winners- February

4-5 Star

Sandra McCallum

Paint splash rose

1-3 Star

Johan Vorster

Stilte voor die storm

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E-photography Winners- February

1 Star

Johan Vorster

Beauty and the beast

2 Star

Hennie Blignaut

Buffalo Sundowner

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3 Star

Sarah Penrose

The Percheron

4 Star

Natasha Bird

Silent Scream

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5 Star

Vivienne Murray

Zipping around Phnom Penh 1-3 Star

Set Subject Winner

Hannes Bronkhorst

Sunrise over Rietvlei

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1-3 Star

Set Subject Runner-up

Ruzaan Blignaut

Sunset Beauty 4-5 Star

Set Subject Winner

Sandra McCallum

Meet the Sun

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Congratulations to all the winners

A big thank you to John Coumbias

for judging.

4-5 Star

Set Subject Runner-up

David MacIntyre

Autumn Sunset

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Salon results

2019.01.19 Nelspruit PDI Salon Name Acceptance COM

Esme Bruwer 3

Hannes Bronkhorst 2

Nico Grobbelaar 6 1

Vivienne Murray 3

2019.01.26 5th PSSA National PDI Salon Name Acceptance COM

Hennie Blignaut 4

Vivienne Murray 3 1

Remember all members. Salon

acceptances and COM’s will help

you progress in your star levels.

Check out our events calendar for

upcoming Salons

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Brag Page: International

achievements- Kierie Viljoen

OLYMPIC SALON - 10 ACCEPTANCES & GOLD

MEDAL IN ZEUS LEG FOR "Looks bad, go for a

second opinion"

CROSS CONTINENTAL SALON (organized by

Johan vd Walt - 16 acceptances

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Pygmy photography

Photography for Kids: What Kids Learn When They’re Behind the

Camera

ERIK MISSIO

Thanks to smartphone and tablet apps, many kids are getting behind a camera earlier than

ever before.

Selfies and snapshots are fun, but they’re just the tip of the iceberg. Many parents find that

photography—from backyard panoramas to family portraits to still-life compositions—gives

kids a whole new way to see the world.

“Photography, in some ways, has become a modern-day extension of how we interact and

communicate with others,” says Diana Nazareth, a Toronto photographer and educator

who designs camera-based community outreach programs.

For some kids, taking digital pictures on a camera, tablet or phone can be a way to share

cool things that have happened or places they have been with friends and family. For

others, photography can be a way to express their creativity.

“Photography can help develop a child’s voice, vision and identity as it pertains to their

family, friends and community,” says Nazareth. It can also strengthen connections between

visual and other forms of expression.

In Nazareth’s photo workshops, kids take lots of pictures and do lots of journaling.

“Students ultimately make connections between core concepts of photography and writing

such as framing, timing, focus and perspective,” she says.

Taking photos can help kids visualize the same thing in different ways. Ask kids to take a

photo of the family dog, a big sister or their favourite toy and eventually they’ll be making

lots of decisions—what should be the focus? At what angle? Get in close or take a wide

shot? Is there enough light?

Sounds a bit daunting— but it doesn’t have to be. Try one of these simple photo activities

to introduce kids to photography:

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Go for A Family Photo Walk

There are numerous ways to teach children about photography, from local classes and

workshops to e-books and online courses, but Nazareth points out that it can also be as

simple as going for a photo walk.

“You could encourage [kids] to look for and photograph certain colours found in nature or

shapes that look like a letter in the alphabet,” she explains. After your walk, ask kids to talk

about their photographs. Why did you choose to take that photo? What is your photograph

trying to say?

Create Photo Challenges

Use your imagination to create photo challenges—kids can participate too, by creating their

own challenges or different challenges for friends or family.

Some ideas to get you started—ask kids to photograph:

• Things that remind them of their grandparents

• Close-up portraits of their favourite toys

• A series of pictures that tell a story

• A scavenger-hunt list for a day at the park—maybe an odd-shaped cloud, or a big tree

or vaguer targets like “something funny”

You may also want to remind kids about the importance of their safety and other people’s

privacy—they should never snap pics of someone without permission.

What Kind of Camera? It Doesn’t Matter

For these activities, it doesn’t really matter if kids use a “real” camera. Many kids these

days take their first photos with their parents’ phones or tablets. There are even special

apps, like Kid Cam, that simplify photo-taking, control how many pictures your children can

take and keep their galleries separate from yours.

Phones and tablets are convenient and easy to use, but so are many point-and-shoot

cameras.

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“I have an affinity for cameras with eye-level viewfinders, where you have to put your face

up to the camera to compose a photograph,” says Nazareth. She believes this step helps

kids slow down and increases their ability to create a photograph with intention.

“I think this is harder with tablets and phones, where the tendency is to snap too many

pictures without paying attention to what’s in the frame. However, like everything else,

things evolve and now we have photographers who shoot beautiful images solely with

iPhones!” she says.

There are point-and-shoot camera specifically for kids on the market, but aside from their

durability, many tend to favour fun effects and games over easy, simple photography.

Most children would be better served by a simple “grown-up” model with a big viewfinder.

In other words—when parents or grandparents upgrade, kids can benefit from the hand-

me-downs. This is also a great opportunity for parents or grandparents to share what they

like about photography.

Allison Anderson is an Edmonton-based photographer with three kids—who inherited

hand-me-down cameras from their grandparents and a joy of photography from their mom.

“My eldest likes to take her camera on vacation and take pictures of whatever she sees. It’s

most often flowers and trees, but she also spends a lot of time taking pictures of natural

patterns and textures she liked," says Anderson.

“I think photography can bolster creativity in younger children and improve fine motor

skills; it’s hard to hold a camera still and push the buttons,” she says.

When kids are older and start experimenting with more of the technical side, like

composition, focus and lighting, they can improve problem-solving skills.

Plus, no matter which skills kids are working on when they're taking pictures, they'll still

have fun taking and sharing photos with friends and family.

www.cbc.ca/parents/learning/view/photography-for-kids-what-kids-learn-when-theyre-

behind-the-camera

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Bulletin Board

From 2019 monthly club

evenings will be moving to

every 3rd Wednesday

Fireman Tavern

Burnout

1st March

ARRO TARMAC TIME ROUND 1

16 March

The Rock Raceway

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Members list Alan Driver Johannes Vorster Yolanda Taljaard

Alan Rankin Karen Seidel

Albert Pijl Karl Seidel

Alex Pawley Kerry Mellet

Alta Neto Kierie Viljoen

Andre Koekemoer Laetitia Kenny

Amelia Vorster Lynn Perry

Annemi Taljaard Madleyn Labuschagne

Barry Clayton Magda Van Vreden

Berrie Labuschagne Marie Botha

Biance Schmidt Mavis De Rouwe

Casey Lana Blomerus Natasha Bird

Charmaine Zietsman Nico Grobbelaar

Daniel Blomerus Paula Rutherford

David Macintyre Renee de Klerk

Debbie Russell Roger Pike

Denise Smith Ronald Reeves

Deon Mostert Rudolf Schmidt

Dionne Annandale Ruzaan Blignaut

Edwin Hawthorn Sandra McCallum

Erich Schober Sarah-Blair Penrose

Errol Wagg Sharon Naude

Esme Bruwer Sonja Nel

Frans Grotius Steve Koekemoer

Glynnis Riekstins Theo van der Merwe

Hannes Bronkhorst Therese Schmidt

Hennie Bestbier Thomas Bingle

Hennie Blignaut Ulandi Wagg

Jackie Cilliers Ursula Herbst

Jackie du Plessis Vivienne Murray

Jacques Taljaard Werner Jacobs

Johan Botha Willie Pieterse

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BCC Service desk Many of our members are not only excellent photographers; they also

have other great qualities. Please support a familiar face and refer to

our extra service desk. If you would like to add your details to the

service desk, please email it to the editor:

annemi.bestbier@gmail.com

Member Service Contact details

Annemi Taljaard Dietetics annemi.diet@gmail.com

079 499 5281

Charmaine

Zietsman

Char’s Designs

(For floral

requirements to

home, office, hotels,

functions and

weddings)

priorityins@yebo.co.za

082 458 2266

Charmaine

Zietsman

Priority Insurance

Services

(Short-term

insurance

requirements)

priorityins@yebo.co.za

082 458 2266

Debbie Russell Debra Russell’s Art

studio

(Art lessons for all

levels)

Web:

www.debrarussellart.com

Contact:

082 937 8468

info@debrarussellart.com

Denise Smith Lawnmower Mecca

and Locksmiths

011 917 7679

Jackie Cilliers Gymnastics and

Tumbling club

(For gymnastics and

tumbling classes for

boys and girls from

18 months)

Web:

http://boksburggymtumblingclub.shutterflu.com/

Contact:

011 917 1054/ 082 463 1710

jackiec@iburst.co.za

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Jacques Taljaard Pretera Accounting

Services

(Bookkeeping, Tax,

VAT, Management

accounts, Financial

statements)

Web:

www.pretera.co.za

Contact:

info@pretera.co.za

083 6544 614

Magda van Vreden Artist Facebook

Contact:

083 448 3965/ 011 896 1246

Magda van Vreden SCIO-therapy magdascio@gmail.com

083 448 3965/ 011 896 1246

Mari Kok The Rabbit’s Hole

(Trendy fashion

items for kids)

082v560 4581/081 798 6697

Paula Rutherford Getpix Creative

College for

photographic tuition

Web:

www.getpix.co.za

Contact:

info@getpix.co.za

011 425-1768

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What is PSSA?

The Photographic Society of South Africa (PSSA) is the officially recognised body presenting photographers

in South Africa. The aim of the society is the promotion of photography in all aspects through individual

membership, affiliated clubs and other photographic groups.

Vision

As the internationally recognised Society, the PSSA actively embraces the future in its services to all

photographers.

Mission

• To bring together those interested in photography.

• To promote the highest possible standards.

• To embrace the future of photography while continually supporting the present.

Benefits of joining PSSA

• Become part of the world-wide photographic community.

• Nationally and internationally recognised Honours and Awards.

• Diamond ratings for achievements at National and International salons.

• Receive a quarterly glossy A4 magazine, “IMAGE”.

• Access the online newsletter and members’ section of the website.

• Publish articles and images in “IMAGE” and on the website.

• Evaluation of members’ photographs on the website

• Learn new skills through workshops, tutorials and training DVD’s.

• Attend workshops to obtain accreditation as a judge of photography within the Society.

• Discounted entry fees to photographic salons recognised by PSSA.

• Awards for service and excellence in photography.

• Discounts given to PSSA members attending national and regional congresses.

Join today!

Membership of PSSA is open to all photographers

For application forms and other information, access the website: www.pssa.co.za.

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Committee 2019

Errol Wagg

Chairman

082 491 8710

David Macintyre

Vice Chairman

083 461 3589

Denise Smith

Secretary/admin

076 731 1980

Nico Grobbelaar

E-photo coordinator

082 448 4299

Jacques Taljaard

Treasurer

083 654 4614

Annemi Taljaard

Editor

079 499 5281

Hannes Bronkhorst

Equipment manager

061 480 0973

Barry Clayton

Workshops and

outings

082 805 7132

Charmaine

Zietsman

Catering

coordinator

082 458 2266