Bangor and North Down Camera Club (BNDCC)

Bangor and North Down Camera Club, (BNDCC), Northern Ireland, UK.
"Promoting and developing all aspects of the art of photography through example, discussion and competition."

Bangor and North Down Camera Club

Meetings blog 2006-2007 ...

This page is a log of the activities taking place on our Friday evening meetings in the main September to May season.
We give credit to Jack Thompson, our Information Officer, for preparing these notes each week.

Friday evening was the last of the formal evenings of the 2006-2007 season and was the Annual General Meeting. At the outset of the meeting members were informed of the death of Tony O’Connor, a long-standing and valued club member. Tribute was paid to Tony’s work in organising the club and especially his efforts in securing and setting up the present facilities at Kingsland. We wish to express our sympathy to Tony’s family. Our thoughts are with them at this time.

Unfortunately the club president, Mr Randal Clarke could not be present due to illness. We wish him a speedy and complete recovery and hope that he will soon be fit to press a shutter button. Stanley McIlreavey took the president’s place for the evening. He spoke of a very successful year in terms of membership, club finance and increasing standards of competence of members. His only disappointment being the club’s performance in the NIPA inter club competition, but then Stanley is a past president of NIPA and one can understand that this disappointment is more acute in his case. He thanked the outgoing chairperson Glorija Perry and the committee for their enthusiasm and work throughout the year.

When it came to the election of committee members an appeal was made that although it would be helpful to have the advice and guidance of experienced members nevertheless the incoming committee should mainly be drawn from the more recently acquired membership. This met with general approval. The enthusiastic and diligent work of long-standing members in bringing the club to its present stage was recognised and it was felt that that experience could be passed on through the committee membership.

The results of the elections can be seen on the club’s web site.

Throughout the rest of the year members will still have access to the facilities provided they have a committee member with a key to open and close. Wednesday evenings in particular tend to be both interesting and entertaining. The all-day photographic outings will take place on the first Saturday of each month.

The new committee has its first meeting on the evening of the 17th of this month. We look forward to their deliberations providing another interesting, informative and stimulating session in 2007-2008.


Over the past few weeks the camera club has selected prints to represent the club in the last round of the Northern Ireland Photographic Association inter club competition, held a very interesting discussion evening on the future of the club, received members entries for the annual exhibition, had these judged and held the annual dinner at which prizes were awarded. It has been a very busy month.

In the fourth and last round of the NIPPA inter club competition there were no “star ratings” nor did the club enter any slides. Over the four rounds the club did not do as well as in previous years, the final place being tenth overall. This was a somewhat disappointing result since the standard in the intra club competitions was very high. Perhaps the club needs to reassess its policy regarding selection of prints and slides for the inter club competition.

The discussion evening had a very open agenda allowing individual members to raise issues of concern to them. Consequently a great variety of subjects was discussed. Thanks must go to Mark Allen who took notes and provided a very useful summary. Next year’s committee have plenty of suggestions to evaluate and use in the decision making process.

The annual exhibition is also the final club competition. It is also the most complicated there being three levels of competence, foundation, intermediate and advanced. At each level there is a colour section and a monochrome section. Add to this in each section there are categories of general, landscape, portrait and the complexity can be seen if not understood. Thanks to Harry Pettis and his aids sufficient order was brought to the mass of entries to allow the judge, Colin Thompson, to award first, second and third places with highly commended and commended to others. There is one open category in sport.

The distribution of prizes took place at the annual dinner held in the Clock Restaurant. Again Harry Pettis resplendent in his yellow jacket and matching accessories, which he assured the club he reserves for this occasion each year, brought order to the results and distributed cups and certificates as the judge had directed.

Some trophies are not awarded by the judge but are the result of an accumulation of points over the year. In this category Photographer of the year went to David Foster, the Lindsay Orr trophy for Advanced Monochrome to Hugh Rooney, The Lindsay Orr trophy for Foundation Monochrome to Jack Thompson, the overall Club Colour Advanced to joint winners David Foster and Peter Nixon and the Club Colour Foundation to Colin Hastings. The other trophies as directed by the judge were awarded as follows

Foundation Colour
Tony Robson Cup for portraiture Nicholas Blachford
George Brown Cup for landscape Richard Thompson
John Collins Cup for general Kay McCullough
The Woods Cup for best colour print Richard Thompson
Foundation Monochrome
Jane Richardson Cup for portraiture Jim Bargett
Peter Hughes Cup for landscape Jim Bargett
Christine Hamilton Cup for general Mark Allen
The Novices Cup for best monochrome print Mark Allen
Intermediate Colour
David Bell memorial Trophy for portraiture Daniel Hughes
Peter Webb trophy for landscape Daniel Hughes
Kathleen Bateman Cup for general Mark Lomas
Joe Gilmore trophy for best colour print Daniel Hughes
Intermediate Monochrome
Webb Challenge Cup for portraiture Glorija Perry
McKay’s Autclean Cup for landscape Daniel Hughes
Hugh Rooney Cup for general Daniel Hughes
David Burns Cup for best monochrome print Daniel Hughes
Advanced Colour
Ted Roberts Cup for portraiture John Miskelly
Clarke Challenge Cup for landscape Trevor Craig
Stuart James Cup for general Trevor Craig
Frame and Picture Centre Trophy for best colour print Trevor Craig
Advanced monochrome
Titterington Cup for portraiture John Miskelly
J.Johnston Cup for landscape Hugh Rooney
The Lightbody Cup for general Hugh Rooney
Webb Memorial Cup for best print Hugh Rooney
Open Sport
David Irwin Cup to Jack Thompson
Techniques Trophy for transparencies to Anne Moore

A full list of winners can be seen on the club web site www. bangor-camera –

Next week is the last club evening meeting of the 2006 –2007 season and will be the Annual General Meeting.

On the first Saturday in June, July and August there will be all-day photographic outings arranged by David Best. These have proved to be very enjoyable and helpful in previous years and thanks are due to David for his work in their preparation. The first of these took place on the first Saturday in May when a group of members visited the World of Owls and the Patterson Spade Mill.

The Camera Club was significantly depleted at the last meeting since a group had gone on a photography trip to France. However those that were left entered the next round of the club competition with enthusiasm and we would claim no great deterioration in standard.

Three of the remaining advanced standard members took on the roll of judges, David Rogers, David Best and Stanley McIlreavey. They took their position seriously and commented on every print. Those of us at Foundation level were very grateful for the time taken over each of our entries. Their comments were helpful, insightful and encouraging.

As this was an open round there was a great variety of subjects. Still life, landscapes and portraits all figured making it even more difficult for the judges to differentiate between the good and the best. In the monochrome section there was an easily recognizable difference between the advanced entries and the foundation level.

In the advanced level Hugh Rooney’s landscapes were judged to First and second but as the club rules do not allow one entrant to have two entries in the first three second place went to Trevor Craig for his beautiful contrasty perspective shot. Third place went to Sam McCracken’s log-an excellent example of how a very mundane subject can be photographed in such a way as to become a very appealing image.

In the Foundation section Richard Thompson, Mark Allen and Jane Morris were first second and third respectively. Mark had two prints in the first three but had to conform to club rules and withdraw one.

The colour prints presented the judges with an unusual problem pointing out that overall they favoured the Foundation prints. However in the advanced section Mark Lomas’ well-caught image of a child stepping off a pavement as she followed a ball took first place. Sam McCracken’s pin-sharp portrait of a monkey was second while Ralph Bennet’s portrait took third.

In the Foundation section Ann Moore’s roses was placed third. Again Mark Allen had two prints placed but was subject to club rules and his landscape took second place while first place went to Nicholas Blachford’s beautiful, simple, sharp and well exposed and composed shot of that red warning light that sits on top of the Bangor marina’s breakwater.

There were three official judges and members thank them for a very entertaining and informative evening. The thirty or so unofficial judges were just as verbal in their comments but somehow were more willing to point out the negative aspects as well as the positive.

Next week a selection of prints will be made to go forward to the next round of the Northern Ireland Photographic Association’s inter club competition.


The guest this week was Alan Turner. At the age of sixty-two Alan had read a book by the local mountaineer and walker Bert Slater. The book described a pilgrimage through France and Spain to Santiago de Compostela, a journey of five hundred miles. Alan was so intrigued by the description of this walk that he decided to undertake the journey himself.

His preparation included building up his walking stamina until he was training at eighteen to twenty miles around the roads and pathways of Antrim. The walk was to take about five weeks. For part of the time he would be alone but at least half of the journey would be in the company of a friend.

The pilgrimage route had its origin in the story of St James who it is believed spent much of his life evangelising in Spain. On his return to Jerusalem he was martyred and his followers placed his corpse in a stone boat which was driven by the wind and guided by angels through the Pillars of Hercules (now the Straits of Gibraltar) to northern Spain. There a local Queen had his body buried but the burial place lay undiscovered for eight hundred years when it was seen in a vision by a philosopher and the remains authenticated as those of Saint James.

Alan had taken a small compact film camera with him and must have exposed quite a few rolls of film. He recorded beautiful landscape scenes, many old and often disused churches, the other pilgrims and unusual plants and flowers. As photographers the members were captivated by images of architectural features, the quality of the light especially in the landscapes and the opportunities afforded for portraits of the other travellers. The photographs were only rivalled by Alan’s stories about places, fellow walkers, hostel keepers and many others.

A fascinating if somewhat different evening. Next week is an open competition week.

On Friday evening the club concentrated on home-grown talent when members were entertained by Ray Magill, one of our more advanced photographers. His opening statements took some people by surprise when he said that almost all of his work was done in black and white. Black and white images, he held, were not so much “taken” as “made”. The photographer had to train himself or herself to visualise the image in black and white and assess how it would look. Would it work compositionally? Would it need to be developed and printed using various techniques to bring out the best of the image?

For an audience of photo enthusiasts in 2007 spending an evening looking at and discussing only monochrome black and white images might seem somewhat daunting to begin with but the silence and wrapt attention was evidence that this was not the case. Indeed the only problem was that the tea-break was almost missed! Ray paid tribute to other photographers who had influenced his work such as Ansel Adams and Fay Godwin. Some of their photographs were shown and their influence on Ray’s work demonstrated.

Although Ray certainly does not have his head in the clouds nevertheless clouds were a significant part of his landscape photography. One got the impression that a red filter must be part of his standard equipment. He held the view that environment and landscape photography was greatly enhanced by the presence of people. This was well illustrated in his images of beach scenes where the figure however distant added scale and often a poignancy that was evident but difficult to describe.

Ray contrasted his work with that of other advanced photographers in the club pointing out that he looked for a full range of tones from white through greys to black and preferred the more flowing, curving or organic lines found in natural subjects. Others preferred more contrast in their images and liked the stark geometric shapes of structures. In passing he mentioned that various photographs had been successful in a variety of competitions, his latest being a P.A.G.B. credit for a panel of ten prints.

The range of photographs displayed was interesting. Some were traditional landscape but others included some very odd subjects. An old tyre half buried in the sand added to the composition of a beach scene. Litter, one of the banes of modern life, became the subject of art. It was obvious that Ray practised what he preached in that he often alluded to the need for the photographer to be aware of his surroundings and be able to assess the possibility for a picture in any situation.

Next Friday evening the club has a visit from Alan Turner who will show images of his “Pilgrimage to Santiago de Compostela”

In the first two weeks of February the club took a break from competitions and visiting experts to concentrate on members own work. On the 2nd Feb. we viewed a number of audio-visual presentations. Each of these was a series of digitally projected images backed by sound in the form of music or commentary or both.

Many were fascinating travelogues, the images having been gathered while the photographer was on holiday. These were not presented as “my holiday snaps” but concentrated on the beauty of the area, its customs and people with great care being taken in presentation and how the accompanying music fitted the subject matter and the pace of the show. We were taken from France to Morocco, America, Italy and parts of Ireland. Gerry Coe’s “Two minutes in Spain” lasted about two minutes but included almost 200 images accompanied by similarly high speed Spanish guitar music. We didn’t get much time to appreciate Gerry’s photography but as an audio-visual experience it worked well and caught everyone’s imagination.

We even had a rugby match and in contrast there were two “wee stories” about a derelict cottage and a derelict boat. These depended more on their script and music for impact than on the photography.

The evening of the 9th had been set aside for members to bring their results of exploring the topic “light on water”. Unfortunately David Foster could not be present due to illness and many of us were looking forward to his exploration of the topic in monochrome. Some prints were produced and we discussed monochrome images from Kay McCullough and Mark Allen’s full colour shots of Maine in America, Lake Mirror-well named- the Lagan River and the Silent Valley. Harry Pettis drew out a number of points of technique and then showed some short and stunning audio-visuals on the topic. Waterfalls, reflections, shimmering light, swirling water were all included. Added to this was a presentation titled “Flowing Water” with a sound track of a folk singer and liberally interspersed with Harry’s very witty comments.

These were two very enjoyable and helpful evenings. Next week Jim Moreland will visit the club and talk about his 40 years in photography. No doubt there will be an opportunity for some older members to wallow in the nostalgia of developer and fixer, contact prints and enlargers, Kodachrome and Ilfochrome! I can hear it already “those were the days!”

Two weeks ago the club, as the Spectator headline put it, was driven to abstraction. The theme of the competition for that evening was “abstract”. Last Friday evening there was a repeat of that theme but this time it was the selection of prints to go forward to the Northern Ireland Photographic Association inter club competition. As is club policy an external judge was given the task of making the selection.

On this occasion the judge was Mr Michael Maguire. Michael is well known and respected in photography circles nationally having won many awards. At the outset he made it clear that no matter what the theme he would always be looking for a well composed, exposed and printed image. He took time to consider and comment on each print which, for those of us at foundation level especially, was an excellent learning opportunity. It became apparent that as he repeated the phrase “abstracted from reality” he was looking for images that were drawn from reality but had an element of ambiguity which left the viewer with a variety of questions.

The colour prints selected were by Stanley McIlreavy, David Foster and Peter Nixon. Of the four monochrome prints selected only one was an image of reality which had subsequently been contorted using manipulating software. This was Glorija Perry’s photograph of a hand which had taken on a very eerie look indeed. The other three were by David Foster. It certainly seems that at the moment David Foster can be referred to as the “monarch of the monochrome”.

We congratulate all those whose prints were selected. We have high hopes that they will do well in the competition. We must on this occasion especially congratulate David Foster who had a total of five prints in the selection. Not only did David show understanding of the subject but his images were of his usual high standard. No doubt there will be an interesting debate about whether the photographs that go forward to such a competition should be the club’s best work no matter who produces them or how many come from one person or should there be some limit on the number of entries by one person ensuring a wider spread among members.

Next week those members producing audio visual sequences are asked to bring some of their work and these will be put on display. Audio visual sequences are a selection of photographs shown on a screen in sequence and backed by music and or commentary.


(Club driven to abstraction?)

The club resumed activity after the Christmas holiday on Friday 12th January. However on the previous Friday evening members had a very pleasant dinner in the Esplanade Hotel. The enjoyment of the meal was supplemented by a quiz hosted by Harry Pettis. Anyone giving a correct answer was entitled to a prize. However it very soon became evident that this was entirely at the discretion of the host and indeed receiving a prize was no guarantee that you also had the sole rights of ownership from that moment as the host was quite likely to favour another competitor, strip one of the prize and pass it on to his favourite. Claiming that the referee’s decision is final. Naturally this led to some discontent not to say distress. However a riot was avoided and the host ushered out through a rear door.

The first normal club meeting of 2007 had its own controversy. This was a club competition, the topic being “abstract”. At the outset it became clear that the definition of “abstract” was not clear at all. The judges gave their definition which caused a great deal of discussion. Did the word simply mean “non representational” or was there some other criteria more related to the world of art? Eventually as the judges seemed to reach some consensus between themselves the process of selection got under way. A significant proportion of entries did not meet the judges’ definition and were ruled out. However their selections were accepted by the members if only as the referee’s decision is final!

As the selection of four prints to represent the club in the next round of the N.I.P.A. inter club competition, which has the same subject, takes place next Friday evening it will be interesting to see if the external judge has his own definition of “abstract” and will he choose any of the prints which were placed in the internal club competition. In the previous round of the inter-club competition prints from Peter Gibson, David Best, Colin Hastings and Richard Thompson all were very highly rated gaining a first, second, third and highly commended place.

Last Friday evening one of the club’s long-standing members Stanley McIlreavy entertained members with his own experience of photography. He admitted to leaving school at 15years to avoid having to undertake academic examinations. However if he eschewed an academic career he certainly carved out a very successful business career. His success as a salesman meant that firms sent him to events in many parts of the world. He had experience of working in well known photographic firms such as Lizars and Belmont but spoke enthusiastically of setting up his own businesses. He claimed that he did not take many still pictures until he joined the camera club but he had been involved in cinematography having covered many of Harland and Wolfe’s launches. Indeed if readers have seen the B.B.C. programme which included amateur film they may have been viewing some of Stanley’s home movies.

Recently Stanley was awarded a distinction for work submitted to the Irish Photographic Association. He rounded off his lecture with a display of his prints. This display was inspiring but from the writer’s point of view if this is the standard required to achieve distinction level in IPS then I have a long way to go!

Next Friday evening, as I have alluded to, an external judge will select the prints to go forward to the “abstract” round of the N.I.P.A. inter-club competition. I wonder will he carry a dictionary.


Gordon Ashbridge, our guest last Friday evening, has been in the N.I. Fire Service for twenty-seven years but apart from this he admits that photography has fired his enthusiasm. Four years ago he was invited to join a group with the Presbyterian Chaplancy in Queen’s University to go to a township on the outskirts of Cape Town in South Africa.

He was to be the photographer. The images taken on this and subsequent trips formed basis of his talk on Friday evening. He began by displaying a number of framed prints and asking members to inspect them and afterwards to comment on any of the prints either from a photographic or subject point of view. These were evocative images of smiling happy looking people living in materially very poor conditions.

The comments were interesting as they were almost entirely about the subjects and not about the way the picture was taken or the aperture or shutter speed. He had been very skilful in shifting our focus from things photographic to things sociological.

He had done this through the quality of his images, especially his ability to capture the moment when the subject’s expression through eyes, hands or body posture conveyed the message he wanted to transmit to his audience.

These were not images taken by a tourist but were taken to convey Gordon’s thinking about and attitude to the people in that township. He showed us a Fair Trade vineyard. It was well cultivated neat and looking prosperous but then showed what was literally on the other side of the fence. It was a similar vineyard but was not well cared for, untidy and not looking at all prosperous. Similarly we saw Century City shopping complex which would dwarf our Bloomfield and Flagship put together and then shops in the township which were small often unfinished looking buildings.

The townships however had an infrastructure and main roads had kerbs and footpaths. There was electricity, even though the network of wires strung precariously over the street would have caused a Health and Safety officer ‘s hair to stand on end.

Again he showed the contrast with the “shanty town” that had grown up around the township where the infrastructure was missing and basic necessities were difficult to access.

The term “sweat equity” means that if you want a house then you can offset some of the cost by being a worker on the building project. This term was used when he discussed the contribution to housing made by Habitat for Humanity which builds

a variety of houses. A starter home being a roof and four walls with doors and windows. The occupier then has to complete the project including plastering. These homes have to be bought. Gordon showed a photograph of a lady with tears of joy having just received the keys to her new starter home. Her comment was “I just want a house with a roof that doesn’t leak”.

Another evocative image was of a girl in bed, obviously ill and on the wall above her were pin-ups of various western models. The girl had contracted A.I.D.S.. This illness, Gordon pointed out, is becoming the new apartheid.

He showed an image of a public toilet where the sign read “Non A.I.D.S. only”

This was a fascinating evening combining good photography with the power of the image to convey a message. It was a rather timely message coming as it did in the middle of our Christmas shopping spree.

Gordon’s web site address is
Next week bring your own thinking cap as it is the annual table quiz evening.


After last Friday evening’s meeting the most common comment was “Well that was different!” During the whole of the evening Ernie Patterson, our guest speaker, had shown very few photographs. Instead as a part-time lecturer in digital photography he took members back to basics exploring and explaining how digital photography works.

He began the evening with an image of a two hundred year old Roman mosaic floor pointing out that the technique of building a picture using small pieces of coloured tile is the same technique as that used in digital photography. In photography they are called “pixels”. High powered cameras that use many millions of pixels per inch are like very detailed pieces of mosaic work that use very small tiles.

He then went on to explain the acronym RGB, -red, green, blue, - and how, using these colours or mixtures of pairs of them-cyan, magenta, yellow-a computer can produce a coloured picture and a printer a coloured print. This led on to a discussion of the Kelvin Scale and the “temperature” of light.

He rounded off the evening by introducing the enigma of perception. Members were shown a number of images each of which split the group with some seeing one image and some another while a few saw both images and could not decide which was the real image. This was a fascinating and informative evening. It was a very good example one of the advantages of belonging to a camera club.

Ernie has been interested in photography from boyhood. Later he joined the Central Photographic Club and the Royal Photographic Association. He has completed City and Guilds’ courses in photography at a high level and now teaches on a part-time basis. Somewhere in all of this busy life he has time to be a sheep farmer and forester.

At the recent judging of round one of the Northern Ireland Photographic Association inter club competition a number of members’ entries were rated very highly. Overall the club is lying sixth after the first round. However in the beginners’ section colour prints Peter Gibson came first while Colin Hastings was second and David Best was third. Glorija Perry was highly commended and Henry Doggart was commended. In the monochrome prints Richard Thompson was highly commended. Congratulations to all of these.

Next week there is a change to the advertised programme and Gordon Ashbridge will bring images of townships of South Africa and talk about his approach to photography.


Geraldine Gallagher was the guest speaker at the club meeting on Friday 1st December. As Geraldine has a background in graphic design and a diploma in photography we knew we were in for a very interesting evening. We were not disappointed.

She is a member of Image Ten Plus photographic club which has an unusual history. It began as a group of students on a course in photography who, having discovered that the group was an excellent resource, decided at the end of the course to stay together and form a photographic club. She spoke of her interest in all things to do with heritage including old buildings, especially places which are not usually accessible to the public. Old graveyards also fascinate her.

All of these interests were then explored through digitally produced photographs and in the course of the evening we visited the old drawing office at Harland and Wolfe’s shipyard, Friar’s Bush Graveyard, The Belfast Gasworks, Armagh Prison and finally, leaving the past behind, New York.

It was obvious that Geraldine has the ability to spot a situation which will make a good picture compositionally and will illustrate clearly the point she wants to make. In the drawing office we saw images of simple or unusual objects such as rusted and dust laden coat hooks and close-up photographs of pealing paint. These atmospheric images combined with more wide angle shots gave one a real feeling of being present in the drawing office and sharing Geraldine’s interest in heritage.

These techniques, together with the use of monochrome black and white images were used to good effect to illustrate various points. She explained briefly how she created an image in monochrome with just the most important object in the image in colour. This was used most memorably in a photograph of a dirty, cobwebbed window in Armagh prison with a red admiral butterfly resting on the ledge. The contrast of the beautiful colours of the butterfly against the monochrome window created an effect it would take many hundreds of words to explain fully. It made sense of the adage “a picture is worth a thousand words”.

At one point she asked members to help her to choose four images to go forward to an exhibition. It is a tribute to Geraldine’s standard of photography that although there were a number of suggestions, no consensus was reached.

Next week Mr Ernie Patterson will be the guest speaker.


On Friday 24th we had another visitor. This time it was Billy Leahy of the Belfast Imaging Photographic Club. Billy had been invited to be the external assessor to choose prints to go forward to the second round of the Northern Ireland Photographic Association (NIPA) inter club competition.

As the theme for this round was “Simplicity” he began by giving his interpretation using such words as “simple”, “not complex”, “plane”, “uncluttered”, “not staged”, “if you look at an image and have to think about it, then its not simple”. After this preamble some of us saw our prints falling at the first hurdle.

Billy then went on to look at each print in turn giving feedback on how he felt it could be improved or commenting on aspects which were worthy of praise. Such careful consideration was very beneficial to members allowing us to compare our views of a print with those of an acknowledged expert. We did not always agree, not even amongst ourselves, but the referee’s decision is final, and Billy’s work and ability is well known so members are confident that his final choice of prints represents the selection that is most likely to do well in the inter club competition.

In the colour section prints by Henry Doggart, Stanley McIlreavy, Ralph Bennett and David Foster were chosen while in the monochrome section prints from Hugh Rooney, David Foster (Two prints) and Jack Thompson were chosen.

We were delighted to have an unexpected visitor on Friday evening. Etienne Joppien, a student from Germany, had seen the exhibition currently running in the Flagship Centre and accepted the invitation given there to visit the club. We hope you enjoyed your evening Etienne.

Next week the guest speaker is Geraldine Gallagher.


As promised at a previous meeting Ian Lyons returned to demonstrate a new programme for digital image processing. Although Ian has another full-time occupation he finds sufficient time to test and experiment with new programmes by Adobe and is recognised by Adobe as one of their “Beta” team who do their official testing. He is therefore very well placed to learn about and discuss the very latest in Adobe image processing.

On Friday evening he was talking specifically about the new “Lightroom” programme. You can view some of Ian’s work and get further information on his web site at

Of interest to both armature photographers and professionals it is comprehensive in its ability to manipulate digital images but just as interesting is its ability to search for images under almost any piece of information e.g. Aperture, speed, lens or camera. In this digital age when we take many more photographs than when using film it has often become difficult to locate the computer image for which we are looking . This programme would seem to solve this problem.

I will not try to condense Ian’s talk but would point out that it was so well received that the room was still quiet at 10.15 pm! This is a very good example of the up-to-date information available to club members. Sessions like this and the opportunity to see and discuss other members prints and techniques giving us the possibility to increase our own skill are just some of the advantages of camera club membership.

Next Friday members are reminded that it is the next round of the N.I.P.A. competition. Bring prints for selection to represent the club in this competition.