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 2007-2008 ...

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.

Details of last seasons blog.

The Annual General meeting of the Bangor and north down camera Club was held on Friday 2nd May in the club premises at Kingsland. The chairman Trevor Craig opened the meeting with a welcome for all present and especially the club President Randal Clarke.

Trevor Craig, Randall Clarke and Harry PettisIn his remarks the president commented on the value of the club in developing and maintaining high standards of craftsmanship in all aspects of photography. He saw the informal sharing of expertise and fostering friendships between people with similar interests to be part of any club’s reason for existing and in this the Bangor club was excellent.

Reviewing the year the chairman commented that his first year in office seemed to have passed very quickly. The year had begun with the summer monthly outings organised by David Best. These had been well supported and all had enjoyed and returned with much creditable photographic work.

During the early months the web site had been redesigned and expanded by David Roberts in collaboration with Mark Allen. It was now probably one of the best camera club web sites in Britain. External interest in the club has been exceptional with hundreds of visits from America, Asia, Oceania, Africa and Central and South America.

On the formal Friday evenings there had been a good variety of external speakers displaying a wide variety of approaches to photography. A number of club members had also made presentations. David Foster’s evening was entitled “The art of seeing” while Hugh Rooney had shown and discussed thirty of his favourite monochrome photographs together with the selection of prints submitted for his Associate of the Royal Photographic Society. Gerry Coe led evenings on low light photography, portrait lighting and his audiovisual work. Sports photography was covered by Alan Harvey and towards the end of the year Peter Gibson demonstrated the art of mount cutting.

It was worth noting the growing interest in audiovisual presentations. An evening had been set aside for members to display their work. Some of those taking part had entered for the N.I.P.A. festival and as a result Mark Allen had won the first prize in the beginners’ section with a beautiful sequence of a trip to Norway.

The committee and in particular Mark Allen, the competitions’ secretary, had spent much time discussing and developing a new system for judging images which would be fair and developmental for club members. The result had worked very well and with few changes will be used again next year.

The competitions had been well supported and the chairman congratulated all those who had achieved top places as well as thanking those who entered but were not placed. Throughout the year points had been accrued and the results were as follows

Photographer of the Year,  Mark Allen
Colour Prints Trophy
1st Alan Harvey, 2nd Alan McMorris, 3rd jack Thompson

Monochrome Prints Trophy
1st David Foster, 2nd Mark Allen, 3rd Jack Thompson

Some members have, from their points’ total, shown such a consistent level of craftsmanship that they now move from Foundation Level to Advanced Level, these are

Colour Prints
Mark Allen, Alan McMorris, David Roberts, David Best and Jack Thompson.

Monochrome Prints
Mark Allen, David Best.

Although a number of individual members had had success in some of the N.I.P.A. competitions the club’s overall placing at the end of the year was disappointing. The chairman questioned if our system of selection of prints going forward to represent the club really did produce the correct representation. This would be considered by the new committee.

Finally the chairman asked the club to acknowledge the efforts of the committee members by a round of applause.

Trevor then vacated his post of chairman and the president took over to direct the election of the new committee.

Having been re-elected to the post of chairman Trevor closed the meeting having seen all of the posts on his new committee filled without any painful arm-twisting.

During the summer club outings will take place on the first Saturday of each month. David Best has put together a very interesting programme. Indeed the first outing took place on Saturday 3rd May when some members visited Castleward. To check on any details to do with the club and view the competitions and members’ galleries visit the club web site at www.bangor-camera-club.co.uk.

 

 

This was the penultimate Friday evening meeting of the season. The last meeting will be the AGM.to be held on 2nd May. On Friday evening the results of the judging of entries for the annual exhibition were announced. The exhibition having taken the form of a competition. Depending on the venue and the number of prints able to be displayed, only the first three and those that are highly commended or commended in each category will reach the display stage. There were also a number of trophies to be won.

The judge for the occasion was Mr Mark Dale B.A. Hons., Head of photography at the local South East Regional College. Mark’s interest in photography began in his early teens and although his parallel interest and expertise in painting was his main area of study he continued with his photography. His painting background was evident in his comments on the entries highlighting the use of colour and composition.

The evening was chaired by the Exhibition Secretary Harry Pettis.  Harry was warmly congratulated for his organisation of the whole process, which, due to the number of categories, can become quite complicated. The only thing missing was Harry’s eye-catching yellow jacket which he has worn on such previous occasions. However the proceedings were liberally sprinkled with his wit and humorous anecdotes.

In the foundation level those successful were,

Alan McMorris
1st and Tony Robson Cup,
3rd Colour portraiture with another print Commended
1st colour Landscape and the George Brown Cup
3rd Monochrome Portraiture

Mark Dale Anthony Crosbie
1st Monochrome Portraiture and the Jane Richardson Cup
2nd Colour Portraiture
3rd Colour Landscape with another print Commended

Glorija Perry  
1st,and John Collins Cup,
3rd, and Highly Commended in Colour General
Commended in Colour Portraiture,
2nd Colour Landscape
2nd and Commended in Monochrome Portraiture.
3rd Monochrome General.

Mark Allen      
1st and Christine Hamilton Cup Monochrome General.
Highly commended in Colour Landscape.
Commended in Colour General.
2nd, Highly Commended and Commended in Monochrome Landscape.

Don Ireland  
2nd Colour General

John Bennett
2nd Monochrome General
 Commended in Colour General.

Gavin McKee  
Commended Monochrome Landscape

Mark Dale and Harry PettisLaurence Henderson  
Commended in Colour General

Jack Thompson
3rd Monochrome Landscape
Three prints Commended in Colour Landscape

In the advanced section those successful were

Harry Pettis  
1st and the Ted Roberts Cup, 2nd Colour Portraiture
2nd Colour General
1st and Titterington Cup, 2nd 3rd Monochrome Portraiture.
3rd Monochrome General.

Gerry Coe  
3rd Colour Portraiture
Highly Commended Colour General.
3rd Monochrome Landscape

Hugh Rooney  
1st and Clarke Challenge Cup, Colour Landscape.
Commended Colour General
1st and J Johnston Cup, Monochrome Landscape.
1st and The Lightbody Cup, Monochrome General.

John Miskelly  1st Colour General and the Stuart James Cup, 3rd Colour General.
2nd Colour Landscape.

David Foster  
2nd Monochrome Landscape
2nd and Highly Commended Monochrome General.

Ray Magill      
Two prints Highly Commended Monochrome Landscape

Trevor Craig    
3rd and two prints Highly Commended Colour Landscape
Commended Monochrome Landscape

In the Open Section those successful were

Glorija Perry   
1st and David Irwin Cup, and Commended Open Sport

Jack Thompson
2nd, 3rd and Commended Open Sport.

Harry Pettis    
1st and The Boal Cup,
2nd Open Slides

Ann Moore      
3rd Open Slides.

Having accumulated the most points in competitions throughout the year Mark Allen took the Photographer of the Year prize.

Details of the venue and dates for the exhibition will be released after the AGM. The members thank Harry Pettis for his diligence in collecting organising and presenting this year’s Exhibition Competition and Mark Dale for a long Saturday spent judging.

 

Last Friday evening the visiting speaker was Ms Judy Boyle FRPS. Judy began with a few prints showing her very early work in black and white. At that stage she was, like many amateurs, developing and washing prints in the kitchen sink. Nevertheless the prints she displayed showed such promise that many of the members would have been quite happy to have them in their current portfolios.

Judy Boyle FRPSJudy lives in Crossmaglen and had a section of photographs of the area mostly depicting scenes of life there over the past twenty to thirty years. The club saw a selection of about fifteen images but she has a much more comprehensive catalogue which could themselves form the basis of a fascinating lecture.

Coming from a large family of seventeen children Judy admitted that she had no difficulty in getting models to pose for her photography. It seemed as though when any family member came to her house their first duty was to pose for a photograph. Most of this portrait work was done in her conservatory where she pointed out she had good control of the light by opening and closing various window blinds. Her daughter was not exempt from this duty and figured in many images dressed in a great variety of scarves and dresses. Indeed there was a whole panel of striking portraits of her daughter who had used her own artistic talent to paint designs on her face.

By this stage Judy had progressed, if “progressed” is the right word, to a digital camera and was using computer aided image enhancing programmes. Although she claimed that she was not very conversant with these programmes it became clear that “not very conversant” was a relative term and that she was quite able to manipulate images in a very sophisticated way.

Her talk was made up of sections or panels of about ten to fifteen photographs on various themes including time spent in India, images of the H-block in the Maize prison, the “Twelfth”, and interiors of old cottages. These were a disparate set of images but all had had a quality of lighting, composition and moment capturing that made it easy to understand how Judy had accumulated so many accolades for her work. She has gained international recognition having had prints exhibited at a number of salons of the Federation International D’art Photographic.

Finally Judy put on display the panel of twenty photographs that gained her Fellowship of the Royal Photographic Society. These were all still life images of everyday objects from around the house but treated in a most ingenious and original manner. There was a general feeling as people viewed these of “well I can understand why she deserved her Fellowship”.

It was a genuinely inspiring evening made all the more pleasant by Judy’s down to earth, indeed almost self-effacing, manner and her easy patter and humour.

 

On the evening of 4th April members brought their entries for the annual exhibition. Although these were judged on the following Saturday everyone will have to wait until the distribution of awards scheduled for 25th April to find out just how their images have been viewed by the judge.

The exhibition being in the form of a competition there are cups to be won and points to be gained leading some people to graduate from foundation to advanced level. The exhibition will be open to the public later in the year

 

Friday evening was set aside for the judging of the Audrey Argue Trophy but before the judge took over to discuss the photographs the chairman took time to congratulate Hugh Rooney on being awarded his Associatship of the Royal Photographic Society. 

This news was warmly welcomed by the club.

The external judge for the evening was Michael Browne of the Merville Club. Michael began his interest in photography by joining the YMCA Club in 1963. Since then he has gravitated towards portraiture although maintaining a wider interest in all aspects of photography. He has been awarded the Licentiate of the Royal Photographic Society. Michael pointed out that he had known Audrey Argue and remembered her work and her interest in animals, so he was particularly glad to have been invited to judge this competition. The two internal judges were Ms Glorija Perry and Ms Kay McCullough.

Since this is a single trophy all media were acceptable and could be either colour or monochrome. This made judging somewhat more difficult but it was decided to mark the colour prints and monochrome prints and slides separately. The eventual winner being the print or slide with the top marks.

Michael commented on the variety of approach and the high quality of many of the images. He emphasised the need for sharpness in images of animals. This caused some controversy between the judges as one entrant in particular had chosen an overall soft focus to emphasise certain qualities of the puppy in the photograph. However this just highlighted the subjective nature of judging art.

Michael BrownThe results were,

Colour prints,
1 Mark Lomas,
2 Gerry Coe,
3 Alan McMorris

Monochrome prints,
1 Alan Harvey,
2 Alan McMorris,
3 Alan McMorris

Slides
1 Alan Harvey,
2 Mark Allen,
3 Alan Harvey.

The overall winner was Mark Lomas with a very close-up shot of the face of a bovine animal. So close up was the shot that it was impossible to tell if it was a cow, bull or bullock! Our congratulations to Mark.

There is no meeting next Friday but at the Wednesday workshop David Best will demonstrate his approach to Lightroom file structure and something called “metadata”.

 

The club’s annual Christmas Quiz, which had been postponed, was held on Friday 7th March. Traditionally this is a very competitive event and this year the competition was just as keen as ever.

There were nine rounds covering topics such as film, television, and music. The scoring was very high reflecting the wide knowledge base of the participants. In the end the self-styled “Adrenlins” group had the most points.

The less formal Wednesday evening workshops continue and this week the group experimented with the use of flash, both on-camera and off-camera. This will continue next Wednesday evening.

Next Friday 14th March is the Audrey Argue Cup competition evening. Images of animals in colour or monochrome will be judged by Mr Michael Brown..

 

On Friday 29th Ian Lyons was the visiting speaker. Ian has been part of the development team of the photo-manipulating programme “Lightroom” and has a detailed knowledge of other such programmes. On this occasion, however he was displaying some of his own photographic work. This was his record of trips to Iceland, Yellowstone National Park, South Georgia and the Antarctic.

Not only were members treated to images of stunningly beautiful scenery but were fascinated to hear Ian talking about how he had taken some of the shots. Some photographs had distracting elements which someone with his expertise could have easily removed but he argued strongly for leaving the image as it was.

Iceland was characterised by a treeless landscape with numerous waterfalls and misty atmospheric scenes. Antarctica had huge melting icebergs shaped into weird architectural forms with gothic arches and Corinthian pillars. A long but very rewarding evening.

 

At the club meeting on 22nd February the judging of theRound 5 of the club competition took place.

The results were as follows,

Foundation Colour Print,
Foundation Monochrome,
1Jack Thompson,
2 Alan McMorris,
3 David Roberts.
1 Alan McMorris, 
2 Anthony Crosbie,
3 Mark Allen.
Advanced Colour,
Advanced monochrome,
1 Peter Nixon,
2 Peter Nixon,
3 Mark Lomas.
1 David Foster,
2 Ray Magill,
3 Peter Nixon.
Foundation Slides,
Advanced Slides,
1,2 and3 Mark Allen. 1 Harry Pettis,
2 Alan Harvey,
3 Harry Pettis

 

On Friday 15th February the speaker could not fulfil the engagement but the members viewed a training video on advanced techniques in determining the correct exposure before pressing the shutter button. This proved to be both interesting and challenging. Reports from members who have experimented with this “zone” method have been very positive.

Chris Roberts - Flash WorkshopOn Wednesday evenings an informal group has been meeting. This takes the form of a “self-help” session with anyone who has experience or expertise in a particular area sharing this with the others. In this way many of those attending have learnt techniques in the photo manipulation programme “Photoshop”. However this Wednesday there was a more formal session with Chris Roberts on the use of on-camera and off-camera flash photography.

Chris is a professional press photographer and the son of David, one of the members. This workshop type of session proved to be very popular and helpful with an increased number of participants for a Wednesday evening. Apart from the do’s and don’ts of straightforward flash photography Chris introduced those present to much more creative uses of the flash unit. First curtain and second curtain flash, when the flash happens at the end or the beginning of a reasonably long exposure, were new to most members but immediately opened up possibilities of much more interesting images. He shared his expertise in how to photograph groups, especially deep groups with rows of people, how to bounce flash off white walls or ceilings, how to use reflectors either purpose made or improvised on the spot.

On Friday and Saturday the N.I.P.A. Audio visual festival was held in Ballyearl Centre. Audio Visuals are a growing branch of photography. Originally these were slides projected unto a screen backed by music and often with a commentary. With the introduction of digital photography and digital projection this has become much easier and more flexible. Thirty sequences were entered for the festival. These were divided into Novice and Open sections for judging. Bangor club had two entries in the novice section.

Congratulations go to Mark Allen who came first with a sequence titled “Norway”. This was a record of his recent trip to Norway taking in huskies drawn sleigh rides and ath Northern Lights. All of this was photographed in the difficult conditions of only having about one hour’s light around mid-day. The judges warmly complimented the whole audiovisual. Their comment included “lovely photography, well chosen music and just enough commentary to steer the viewer through the sequence”. Well done Mark.

Next week Ian Lyons will visit the club with a talk and images of Antarctica

 

 

Terry McCreesh of the Belfast photo Imaging Club was the external judge at the club’s meeting last Friday evening. This was the club’s “panels” competition, a panel being a set of six images on a theme.

Terry introduced himself pointing out that his experience of photography stretched back to when he was given a camera at the age of eighteen. Later he joined the Maysfield Staff Photographic Club. Since then he has been heavily involved in photographic club work and at one stage was the president of the Northern Ireland Photographic Alliance. In his early days he became interested in travel photography but marriage and family commitments curtailed his travelling and he concentrated on landscapes and cityscapes. He has now moved from film to digital photography. Although one got the impression that like many who were used to and expert in the use of film he had certain regrets.

As a judge of panels he pointed out that he would be looking for consistency throughout the set of six images. That would include such things as theme, exposure, printing, aesthetic quality and presentation Indeed if one image was obviously better in quality than the others that may detract from the overall consistency and so loose marks. In the production of a panel the pictures should depend on each other for the overall impact.

Terry was very impressed by the quality of photographic work on display. He felt that the Foundation level work deserved particular mention pointing out that in his experience the introduction of digital photography was blurring the distinction between Foundation and Advanced level work.

In the Advanced Level Prints David Foster’s panel of monochrome prints “Set in Stone” took first place. The overall quality of David’s panel can be judged from the fact that at least one of the prints had previously won individual awards yet all of the prints were consistent in all aspects. In the Foundation level colour Jack Thompson’s somewhat simple panel of photographs of the names of fishing boats caught the judge’s eye. Again in his comments he emphasised the consistency of theme, approach, presentation etc.

Yerry McCreesh - Judging PanelsThe overall results were as follows.

Advanced Colour Print
1st Mark Lomas, 2nd Peter Gibson, 3rd Harry Pettis.

 Advanced Monochrome
1st David Foster, 2nd Hugh Rooney, 3rd Peter Nixon.

Advanced Digital Projection
1st John Miskelly, 2nd Alan Harvey, 3rd David Foster.

Advanced Slides
1st Harry Pettis, 2nd Alan Harvey

Foundation Colour Print
1st Jack Thompson, 2nd David Best, 3rd Alan McMorris

Foundation Monochrome
1st Mark Allen

Foundation Digital Projection
1st Glorija Perry, 2nd David Roberts, 3rd Anthony Crosbie

Foundation Slides
1st Mark Allen, 2nd Ann Moore

 

 

Usually the club has one formal evening each Friday while on Wednesday evening there is a more informal workshop and discussion type of gathering. This week however there were two formal evenings. On Wednesday the club hosted the Northern Ireland Photographic Association’s “Beginners’ Competition”. While on Friday there was a viewing of the winning entries in the Photographic Alliance of Great Britian slides competition.

There was a very good entry of approximately one hundred and eighty prints in the Beginners’ Competition. The three judges were Peter Wilkin ARPS,LRPS,CPAGB, president of N.I.P.A., Brian McKenna CPAGB of the Merville Club and Ray Magill Treasurer of the Bangor club. All three are well qualified and recognised by N.I.P.A. as advanced photographers and are used to judging.

At the outset Peter said they would try to follow the usual pattern of all judges commenting on all prints. However after some thoughtful mental arithmetic he calculated that this would mean finishing at about 2.00 a.m. and by then the judges would be talking to themselves or those who had fallen asleep and consequently had not gone home. The revised procedure meant each judge selecting a few prints and commenting on these. In this way all of the entrants received feedback from at least one of the judges.

This was an excellent learning opportunity for all of those present, perhaps especially when two of the judges differed in their view of a print. Fortunately there were no violent disagreements. These differences did highlight just how difficult it is to eliminate the subjective element in judging artwork. It vindicated the Bangor club’s attempt to devise a marking system which goes some way to reaching a more objective judging procedure.

The following Bangor club members were either placed or commended by the judges

    Laganside by Alan McMorris
    Kearney Rocks by Mark Allen
    Jazz by Anthony Crosbie
    Rock Pools by Mark Allen
    Keep ‘er lit’ by Jack Thompson
    Light Fantastic by Alan McMorris

On Friday evening members viewed slides from the competition mentioned above. Also on Friday evening entries for the “Panels” competition were received although the entry date for this competition was extended to Wednesday 6th Feb.. A panel being six prints or digital images on a single theme. Next Friday sees the judging of these entries.

 

Peter began cutting mounts some thirty years ago with a piece of hacksaw blade ground down to dispose of the teeth and sharpened. Things have advanced considerably since then. He pointed out that the inclusion of a mount was initially a practical solution to a problem as well as an aesthetic enhancement of the picture. The problem was that when glass was put in front of a water colour the condensation that gathered on the inside of the glass destroyed the picture. This was in the days before central heating.


By placing the picture behind a mount and so separated from the glass the condensation could run down and may have damaged the mount and possibly the frame but left the picture unscathed. The introduction of a bevelled mount avoided the shadow cast by a straight cut mount.


Peter Gibson demonstrating mountcuttingAs the club has recently acquired a new mount cutting system Peter took the opportunity to do all of his demonstrating on the new system. He started with a straightforward single mount giving advice on the sort of proportions he would use.


Peter Gibson demonstrating mountcuttingIt all looked very simple until one noticed just how careful Peter was to make a clean cut and stop at exactly the right point and how if two cuts did not quite meet the uncut fibres were carefully cut with a very sharp blade, nothing was torn apart. He went on to demonstrate cutting a double mount. From there he showed more advanced mounts using acrylic paints and other media. From this point it became evident that once the basic skills of measuring and cutting were mastered creating a mount to enhance a picture was a matter of imagination. He showed how lace could be incorporated as a border and how the corners of a double mount could be decorated.
Many members came to the demonstration just wanting to see how best and easiest to produce a simple mount but like myself were inspired to take mounting more seriously and more imaginatively.


Our thanks to Peter for his very generous sharing of his trade techniques.


Next week panels of six pictures are due to be submitted for the Panels’ Competition judging of which will take place on Friday Feb. 8th. Also on Friday evening a few members will talk about “My kind of photography” supported, of course, by their own photographs.

 

This was the fourth round of the N.I.P.A. and club competitions, the title being “Sport”. Unfortunately, although we had a very eminent external judge there was a disappointing number of entries. However listening to the judges’ comments was an excellent lesson in sports’ photography.


The external judge was Stanley Matchett M.B.E., F.R.P.S. and Licentiate of the British Institute of Photography, while the internal judges were Keith Rolleston and Jane Morrice. Stanley was awarded an M.B.E for his services to photography. Although now freelance Stanley has had a career in photojournalism and has worked for the Mirror Group of newspapers among others.

It very soon became apparent that it would have been useful to have had some input from Stanley earlier in the year, as he was able to make members see that for club members a wide interpretation of “Sport” would have helped. Indeed he pointed out that for big events in sport it is difficult for the amateur to get a really telling shot as the restrictions on just how close to the action one is allowed or where one is allowed to stand create real problems. Just how wide his interpretation was became apparent when he pointed out that one of his best shots was of two young boys playing tiddley-winks. He suggested that club members should look to fringe sports for their inspiration.


The judges were disappointed that there was such a small entry with a limited variety of sports. It was pointed out that with automatic focus in particular, action shots were now much easier to achieve. Concentration should be firmly on the main subject of the action throwing the background out of focus so that it does not distract the viewer. For sport’s photography the camera-person just has to get out there and get the shot whatever the conditions.


Stanley made a number of general points such as, “sport is about people”,  “does the picture show a mood, tell a story, have a theme?” Sport’s photography is about the decisive moment. Another comment which requires some thought was “If you’ve seen it you’ve missed it!”


Results
Foundation colour
First, Alan McMorris (with probably the best overall print showing a  cross-country runner’s feet splashing through mud) second, John Bennett, third Alan McMorris
Foundation Monochrome
First, Jack Thompson, second and third Alan McMorris
Advanced colour
First Peter Gibson, second and third Alan Harvey.
Advanced monochrome
first and second Alan Harvey
Prints chosen to go to the N.I.P.A. inter club competition
Colour Alan McMorris two prints, John Bennett, Peter Gibson

Monochrome Alan Harvey, Mark Allen, Alan McMorris and Jack Thompson

 

Victoria DeanVictoria Dean and Bill Nesbitt“Another Viewpoint” was the title of the visiting speaker’s talk at the Friday evening meeting of the camera club. Victoria Dean was, I estimate, the youngest speaker we have had at the club certainly her work and approach to photography had a very modern theme. At times one could detect a minimalist influence.

She had been given a camera as a present on her tenth birthday and from then has been hooked on photography as her art form. She studied photography at the College of Art in Blackpool achieving her degree in 2003.

Looking at her photographs out of context and without any knowledge of the photographer they leave one wondering, questioning. They make Jack Thompson with milk and buscuitsone think. Which is, of course, what Victoria is trying to achieve. Each image is just right in its own way, Exposure, focus, depth of field and composition have all been carefully worked out to create the impact she has been seeking. Indeed the word “impact” could be applied to every image.

Victoria is very articulate and listening to her describing what she had in mind when she took a particular photograph was like having another door opened onto photography. Not content with making a “good" or “nice” photograph each image had a wealth of thought and meaning associated with it. Some of her phrases were intriguing for example “ the absence of presence”. She explained that some of her images showed an environment which had no human presence yet one could infer from the artefacts in the photograph and their position or condition how someone lived in that environment. Another phrase was “transient landscapes” but I will leave the reader to check with Victoria’s web site for a full explanation of that one and to read about and view some of her other images. Visit www.victoriajdean.com

Victoria's Biography

Next week judging will take place of the club competition “Sport”. Prints and slides will also be chosen to go forward to the NIPA inter club competition.

Tonight was out Annual Audio Visual Night where club members brought along their Digital Audio Visual presentations for a non-competetive evening's entertainment..

As usual there were the two camps present - Proshow Gold enthusiasts and the Pictures to Exe advocates. Nevertheless, and despite there having been an unannoumced AV evening earlier in the season because of an enexpected unavailability of a guest speaker, there was a surprisingly strong submission of 11 shows.

First off was Mark Allen's "Norway", literally created this afternoon after returning home from an adventure cruise tour to Norway and the Arctic Circle region.

Harry Pettis' "Elements (Water)" gave a new view on slow shutter speed photography principally in waterfalls and rivers. Daniel Hughs took us to a place called "Fernbeg" in Scotlans for some beautiful Scottish "alpine" scenery.

Next were were transported half way round the world to Equador with Mark and Lucy Lomas. We even were treated to a fast river boat ride cleverly grafted into the stills of the audio visual show. This was not a hike for the faint hearted.

Annecy, France

If anyone has ever visited Annecy in France and its lake, they can vouch for the beauty of the town of Annecy with its canal which passes through the middle and is an absolute riot of colour. This location was discovered by David Roberts with his show, "Annecy Highlights"

Now off to the sun in "Rhodes" with Peter Gibson. Ahh.....we all need a bit of sunshine and scenery like this at this time of year. Well done Peter.

if you ever wanted to see how you could be extracted from a wrecked car, then Mark Lomas' "Fire & Rescue" AV presentation showed it all.

Pink Floyd fans were treated to a wonderful presentation bof "Australian Pink Floyd" at the Odyssey Arena, Belfast. With the appropriate track accompanyment, Harry showed what can be done in difficult lighting conditions, (never mind burst eardrums) and according to Harry, he was nearly grabbedt by the "bouncers" for producing his camera.

Hugh Rooney had visited Venice and returned with some amazing shots of Venice, most of which are never seen by the daytime tourist. His evening and night shots with the absence of surging crowds were really beautiful.

John Miskelly's presentation on "India" and the need to feed and educate children there was a very professional mix of still and video.

Finally Jack Thompson's very timely presentation "Christmas in Bangor 2007" accompanied by appropriate seasonal music brought the great night and the first half of the 2007-2008 season to an appropriate close even though jack had providerd other shows.

The Chairman and Committee wish all our members a very Happy Christmas and a Prosperous New Year. There will be no meetings during the Christmas Week. We resume with our Annual Christmas Dinner at the Esplanade Hotel, Ballyholme, on Friday 4th January at 7.30 for 8.00pm.

Judging of the third round of the club competition and selection of prints to go forward to the N.I.P.A. competition took place on Friday evening. The external judge was Brian McKenna while the two internal judges were Bill Nesbitt and Sean Barton.

There was an increased entry in all sections. This year the committee, being mindful of the expense of mounting prints, took the decision not to award points for presentation. This may help to account for the increased entry and for that reason alone it was a good decision however some entrants will have to find a way of making their prints stay flat for judging. It was irritating to the judges when prints curled or fell over when propped up.

Brian, being a science teacher, is well known for his interest in wildlife and very small creatures in particular. His macro photography of these has produced some spectacular images. It became obvious that one member who knew Brian’s background had deliberately entered his best example of macro photography, a hover fly in flight. It interested Brian but did not impress him and was completely lost on the other two judges. Appealing to the judge’s interests does not seem to work, I wonder if money would?

Brian complimented the Foundation level colour entries in particular pointing out that they showed thought and a high level of technical ability. Since this has been remarked by other judges I wonder is it time some Foundation level entrants moved up to Advanced level?  

The subjectivity of assessing the merits of images was evident in that the judges were quite willing to make different points about the same print and in some cases to differ quite markedly. Nevertheless although each judge was allowed to short-list four prints, for none of the categories were there twelve prints short-listed. In all cases they agreed on a number of prints and especially on the top three.

Listening to the three judges commenting on the prints was a very helpful learning situation. Thanks to all three judges.

Next week Stephen Lowry will demonstrate the technique of taking images through a microscope.

The planned programme for Friday evening had to be postponed so once again Gerry Coe led part of the session while the latter part was devoted to audio-visual presentations. This was also the submission evening for round three of the club and N.I.P.A. competitions.

Next week will be set aside for judging the prints and slides and feedback from the judges. Mark Allen, Competitions Secretary, has informed me that there is a much increased number of prints to be judged. This reflects the enthusiasm of long-standing members and the willingness of new members to participate. The fact that new members are willing to submit work and have feedback says much for the accepting atmosphere of the club.

Gerry introduced the club to a magazine called “Lenswork” which also produces articles to be accessed on the Internet. Using this medium he was able to project and comment on images by renowned photographers such as john Sexton, Eugene Johnston and Martin Waugh. Sexton’s images were monochrome black and white with immediate impact. Most were of everyday objects indeed many were of discarded objects but the grouping, composition and lighting combined to produce images that made one stop and take a second look. Another batch were of smoke trails beautifully lit and digitally manipulated to make a variety of very interesting shapes.

Johnston’s photos were mainly portraits while Martin Waugh’s had the caption “Fluids in motion frozen by a flash of light”. Fascinating shapes produced by photographing the moment a drop of liquid impacts on the surface of a pool of still liquid. We are used to seeing the crown shape this produces but Waugh had captured other shapes. Indeed it could be termed “liquid sculpture”.

Following this the members were entertained by audio-visuals – an area of photography which is growing in interest in the club. David Roberts’ took us to Prague and Rathlin while Mark Allen had produced an audio-visual from photographs taken on a club outing to St. Patrick’s Cathedral in Armagh. Sean Barton’s unusual images mainly taken in very wet weather were backed by very suitable music. The evening ended with a showing of Gerry Coe’s now well-known and popular “Two minutes in Spain”. It is exactly that, two minutes but over one hundred images. Blink and you have missed a whole section.

Next week members will see the results of the judges’ deliberations on the round three submissions. No doubt, as is normal, although the judges judge the entries, over tea the entrants will judge the judges.

Gerry Coe shared some of his knowledge, skills and experience with club members during a special masterclass on 'Portrait Photography'. He was assisted by Nicole, Hugh Rooney's daughter, Gerry began by describing the lights available for studio photography at the Bangor Camera Club premisies.

The club has three lights: a soft diffuser box, and two spot lights, all of which can be fired remotely from the camera. Gerry used the soft difusser, which has a variable light, and a large reflector (silver on one side and gold on the other.) By moving the soft diffuser to different positions and by using the reflector Gerry demonstrated many possible approaches.

 

Nicole

 

You might think that a group mainly of men, meeting in semi darkness, some of whom could be described as “flashers” others as “long exposures” and a few painters, should have attracted the attention of some branch of a law-enforcing agency.

However, it was all as innocent as any meeting of the Camera Club. Gerry Coe had taken the group on an outing to explore “low-light photography”. Since it was well after eight o’clock in the evening before the group assembled on Ballyholme beach not far from the yacht club it was almost “no-light photography”. That just presented a somewhat greater challenge.

Those described as “long exposures” simply set the camera up on a firm tripod, chose a suitable stop for the iris and experimented with shutter speeds varying from a few seconds to over a minute. The advantage of digital photography was obvious in that the resulting photograph could be viewed instantly and the shot repeated at a different exposure. The “flashers” were those who set up the camera, again with a long exposure but they carried a mobile flash unit and walked around flashing the light at various parts of the scene.

Some, especially the long exposures, claimed that this approach was not exactly low-light photography. The “painters” again set up the camera in much the same way but carried a torch rather than a flash unit and walked around the scene “painting” parts of the scene with torchlight. It is interesting to note that provided the flashers and painters kept moving they should not register on the final image.

There was always the possibility of conflict between the long exposures who wanted no interference from outside sources of light and the others. However the strength of good relations within the club held firm and it is good to report that all tripods and heads remained intact.

The group returned to the club for their welcome cup of tea. Unfortunately no provision had been made to view some of the results on screen. This would have been a bonus but perhaps viewing blank screen after blank screen might have been just too much. It will be interesting to see the results at a later date.

Perhaps those with images, of whatever quality, could put 3 of their best on disc or email them to either our Webmaster or his trusty assistant. Depending on how many folk submit their photos, it is our intention to create a small gallery to show the results of what was a useful and enjoyable evening. Example low light gallery.

On Friday 9th Gerry Coe will again lead the session, this time it will be a portrait lighting masterclass.

Hugh RooneyAfter the whirligig event of the previous Friday evening when many interpretations of how to represent circles in a photographic competition were displayed and judged it was somewhat restful to view monochrome images with hardly a circle in sight.

One of the club’s senior members Hugh Rooney-senior in experience and talent, that is- displayed and discussed fifty of what he considered to be his most acceptable prints.

Hugh is currently selecting fifteen themed prints to go forward for the Royal Photographic Society award. We wish him well. From what we saw on Friday evening his problem will be searching for details not to select a particular print.

In his drive for perfection he has acquired a dedicated monochrome printer and has experimented with a variety of photographic papers.

One very interesting item was a book of images all printed on double sided photographic paper. It was very well bound and presented. Selecting images for the book was not just a case of picking out his favourite images but selecting photographs that complemented each other on a double page and had something in common with the other images.

Although Hugh’s interest in photography has been wide ranging he pointed out that now he has become drawn to travel photography and especially monochrome work. This meant producing images that said something about places. The image had to be identifiable. Often this meant finding the right place, the right time of the year, the right day, the right time of day and then having a stroke of luck! Research before deciding on the best vantage point was always necessary.

When we noticed how Hugh casually referred to far-away places where photographs had been taken it became obvious why he should have become interested in travel photography. New York’s Statue of Liberty taken from a mast unusual angle, Hong Kong and Venice shot very early in the morning, inside churches in France, a bridge in Prague, landscapes in Andalusia and Tuscany all indicated his keen interest in travel photography.

Although Hugh pointed out that he respected the integrity of a photograph, for example he avoided replacing the sky in one image with the sky from another image, nevertheless he was very experienced in digital manipulation. He pointed out how some images had been enhanced and was generous in explaining his techniques.

It is expected that as a result of Hugh’s talk the quality and quantity of monochrome prints being submitted for competitions will increase significantly.

Next week another of the advanced members, again advanced in skill not age, Gerry Coe will lead a practical session on low light photography. To get the best from this session bring your camera and tripod.

 

You could say that by the end of last Friday evening’s meeting members were going round in circles. No intoxicating beverage was involved. It was the judging of the second round of the club’s photographic competition the subject for which was “circles”.

The first problem for the judges was to agree on the interpretation of the subject. Did each photograph have to include at least one complete and true circle?Trevor Craig & Peter Winkin giving feedbackWould it be acceptable if it were obvious that the subject was circular but because of the angle of the photograph it showed as an ellipse? Members had been directed to interpret the topic as they saw fit. However the external judge, Peter Wilkins, had already experienced a judge at another club taking the strict line that a circle was a circle and an entry had to include at least one true circle.

After some debate the more flexible interpretation was adopted and ellipses were deemed acceptable if the subject was obviously circular when viewed from another angle. One print however of tyres photographed with the treads facing the camera making each tyre image rectangular was excluded.

Having decided on the ground rules the judges, Peter Wilkins, and the two internal judges, Trevor Craig and David Roberts, were reminded of the new judging system by Mark Allen the competition secretary. This was just the second time of using this method which although seeming to be cumbersome is an attempt to iron out some of the subjectivity associated with a single judge. The process started an hour before members began to arrive and was supposed to have been completed by the start time of the meeting. It was almost complete.

In his comments Peter Wilkins stressed how impressed he was especially by the quality of the Foundation Colour entries, pointing out that in many instances they were at least as good as the Advanced entries. He went on to point out that photographs for competition needed to have impact. Good ideas could be lost if the image did not stand out or catch the viewer’s eye immediately. Sharpness, use of lighting and a careful consideration of how to treat or include the background were some of the general comments he made.

At the end of the evening the four colour and four monochrome prints and four slides with the highest marks whether Foundation or Advanced were selected to represent the club in the Northern Ireland Photographic Alliance competition second round.

These were, Colour: - Alan Harvey-“Roof”, D Foster-“Slider Circles”, J Thompson-“Pipes” and J Bennett-“Bridge on the Clyde”

Monochrome, D Best-“Pool” D Foster-“Saracin” D Foster – “Emana” Ray Magill – “Cycle 2”

Slides, N Maitland; “Quay ring”, H Pettis; “Poles” and “Citroen”, M Allen; “Street Ka”

The results of the club competition were as follows

JAck Thompson, Peter Wilkin and David Foster in discussionFoundation Colour

1 J Bennett; “Bridge on the Clyde”, 2 J Thompson; “Pipes”, 3 H Doggart; “Empty Chairs”

Foundation monochrome

1 D Best; “Pool”, 2 N Snell; “Flowers”, 3 J Thompson; “Pipes”

Foundation Slides

1 M Allen; “Street Ka”, 2 M Allen; “Pumpkins”, 3 M Allen; “Oil Refinery”

Advanced Colour

1 D Foster; “Slider Circles”, 2 A Harvey; “Roof, 3 P Nixon; “CD Roms”

Advanced monochrome

1 D Foster; “Emaya”, 2 D Foster; “Saracine”, 3 R Magill; “Cycle 2”

Advanced Slides

1 N Maitland; “Quay Ring”, 2 H Pettis; “Poles”, 3 H Pettis; “Citroen”

Congratulations to the winners and thanks to the judges especially Peter Wilkins, the external judge.
Next week Hugh Rooney will discuss his thirty favourite monochrome prints.

At the outset of the meeting the chairman congratulated Alan Harvey on winning the colour section of the Bangor Marina Photographic competition and Jane Morrice for winning the monochrome section.

Chris Roberts Press Life DemonstrationChris Roberts, a press photographer and whose father is the club’s web-master, then took over the evening. He admitted that he had come to stills photography rather later than most people having started in video but found that medium almost required a cast of participants to make it interesting.

His early shots were, as usual, of family, friends and an increasing circle of interest until he had images published and received payment. That whetted his appetite and having “filled in” for a staff photographer and having gained confidence and worked as a freelance, he applied for and was appointed to a staff photographer’s post with the Chronicle Newspapers in Coleraine.

His description of a typical work schedule left some of us breathless just thinking about it. He has obviously developed the skill of putting people at their ease for the photograph while not allowing his necessity to rush off to the next appointment transmit itself to his clients. His easy patter and communication skills must be very useful here. As a photographer for a local newspaper he finds himself immersed in the activities of the local community. He knows the significant local figures and the local calendar of municipal events. He pointed out that he does have privileged access to events, something amateur photographers envy.

He displayed some of his typical photographs on screen by digital projection describing some as “bread-and-butter” or “run-of-the-mill” but became quite animated as he discussed others which had obviously given him a great deal of pleasure. Almost every photograph had a story behind it. There were high points such as having the opportunity to photograph the Queen at a garden party and lows as when he was detailed to take photos of the funeral of an acquaintance.

Chris was very generous with his knowledge of tricks of the trade pointing out how he dealt with difficult lighting situations. He looks upon his cameras as tools of the trade. Hence they have to be sturdy yet easy to manipulate. He always works with two cameras. He has an enviable array of very high quality lenses and what seemed to be a whole family of flash units. He uses flash very often and it was interesting to see just how he used various units off camera and activated wirelessly.

Towards the end of his talk Chris shared what was really his philosophy with regard to press photography. He is keen to maintain the integrity of the photograph hence he will do very little manipulation in the computer. To work in press photography one needs to have a love of taking images and striving to make the best of every image and a feeling for the community in which one is working.

Finally he demonstrated some techniques using flash units by taking some shots of his father and how using his P.D.A. mobile phone he could send images instantly to his base.

It was an informative and interesting evening giving a fascinating insight into the life of a press photographer.

Much more information on the techniques of using flash can be found at http://strobist.blogspot.com/2006/03/lighting-101.html

Next week the judging of the second round of the club and N.I.P.A. competitions will take place. Details of the club and the programme are on the web site at www.bangor-camera-club.co.uk

Friday evening’s meeting had been listed as “The Dirty Dozen goes to Province”. However we discovered that the “Dirty Dozen” had been restyled “The Travelling Willburies”. That was how they were referred to in Harry Pettis’ very amusing audio visual backed by complementary French music including a rendering of the Marseillaise in which he introduced each of the members who made up The Travelling Willburies – or The Dirty dozen, take your pick! A small selection of the members’ photographs accompanied each introduction.

mealtimeEach member then displayed a larger selection of their work from their trip to Province. It was interesting to note just how many photographs included strong shadows in the composition. It seemed that there was some novelty factor in seeing such shadows. Perhaps this is understandable given the amount of unfiltered sunlight we have had this summer. The group had travelled through old towns and villages and most members brought back images of doorways, close up shots of window shutters, pots of plants, items for sale in local open-air markets all in vibrant contrasting colours. Somewhere in a village in Province is the most photographed post-box and set of hanging spoons.

Gerry Coe demonstrated very clearly how by digitally removing distracting items from the background the overall composition of a picture can be improved. Some of his images were displayed in both colour and monochrome leaving the audience to decide which made the grater impact.

The group obviously enjoyed both the photography and a lively social life judging from the photographic record. The portraits both close up and environmental showed how well they got on with the locals. One set of pictures of travelling entertainers demonstrated this very clearly. Obviously an ability to speak fluent French was not a requirement. This was a very entertaining evening. To quote from the description on the label of a well-known sauce “a melange” of interesting places, anecdotes, good photography and audiovisuals all spiced with a good dollop of Harry Pettis wit. Our thanks to those who shared their results of what was obviously a very enjoyable trip.

Next week Chris Roberts will speak about his experiences as a press photographer and may let us into one or two of his special techniques.

Jack Thompson Information Officer

David FosterLast year in one of my reports I referred to David Foster as “the master of monochrome”. On Friday evening David delivered a lecture to the club with the overall title “The Art of Seeing”.
He began by surprisingly admitting that he almost gave up photography in May of this year. Fortunately for the club and for photography in general he reconsidered his thinking and is still as enthusiastic as ever. He began taking pictures about 1980 and paid tribute to long-standing members including Wray Magill and Gerry Coe for their support and encouragement . Indeed he dedicated his lecture to Stanley McIlreavy who for a long time has given help, support and encouragement to many aspiring amateur photographers, including David, over a number of years.

He divided the evening’s talk into seven intriguing sections, the seeing eye, a way of seeing, French masters, up to date Dutch mistresses, web and the exchange of images, seeing beyond seeing, a difference in seeing. Each section was then further sub divided making it easy to understand his thinking. For example “The seeing eye” (or was it “The seeing I”?) was subdivided into the seeing “I’s” of Intention, Interpretation, Imagination and Inputs. Although it had been agreed beforehand not to have the usual tea break at the mid point it was a tribute to the manner in which the lecturer was received that when the evening was almost over those preparing the tea had to ask if it would be alright to go and make the necessary preparations.

This was a fascinating evening. So much thinking was covered. So many ideas expressed and so many catch phrases left sticking in one’s mind that it may be useful to have David back again for a question and answer discussion session. Think about these in relation to photography, “Too many of us are floating not focussing”, “We are capturing a moment not a marathon”, “Seeing requires walking and thinking on your feet”. Even if one came away from the lecture unable to remember all of the headings or sub headings one would still almost have been forced to analyse one’s own approach to photography. Our thanks to David for an inspiring and challenging lecture.

Check out the club’s web site for more information about its activities, how to join and about photography in general through the various links, www.bangor-camera-club.co.uk.

Next week is titled “Dirty Dozen go to Provence”. Just who were the dirty dozen and why did they go to Provence?

Jack Thompson Information Officer

Friday 21st saw the first of this season’s competitions. Extra interest was added because the new competition rules and judging method were being used. The first benefit was immediately apparent. Since all entries had been submitted on the previous week judging was already well under way when members began to arrive. The process seemed to go smoothly despite being one judge short. However members were quite willing to accept the decisions of the external judge and the one internal judge. Bo Bryans and Hugh Rooney with winning photo

The external judge for the evening was Bob Bryans. Bob has been a very keen amateur photographer since his teenage years when he joined the Y.M.C.A.Camera Club in Belfast. He has experience of membership of more than one club and of a variety of aspects of photography including prints, slides and audio visual presentations. We thank Bob for his expertise in judging and for his helpful comments on the winning entries and on some other prints.

Hugh Rooney JudgingHugh Rooney acted as chairman for the evening and was the internal judge. Thanks are also due to Hugh. Judging any form of art is to some extent subjective and judgements are always open to criticism. Internal judges are therefore more vulnerable and are perhaps more deserving of members’ appreciation than external judges- since the external judge can escape quickly in their previously conveniently parked car.

Overall the quality was of the usual high standard. There were one or two interesting points to note. For example, the judges commented that the standard of the Foundation Level colour prints was at least as good as the Advanced Level. In the monochrome section the Advanced prints were clearly better. There was a small entry of slides, nine in total, reflecting the shift away from film to digital technology.

Two old hands examining printsThe results were as follows

Foundation Colour 1st David Roberts, 2nd and 3rd Mark Allen. David’s print was a beautifully atmospheric photograph of the interior of a cathedral while Mark’s were landscapes taken in Canada.

Foundation Monochrome 1st Jan McCullough, 2nd Jane Morrice 3rd Nigel Snell. Jan’s portrait stood out as a clear winner. Jane showed that you do not have to travel far to find subject matter. Her evening scene of the Eisenhower pier with silhouetted figures was very atmospheric. Congratulations to Nigel, whose name will appear again in the results, and who is a new member this year.

Advanced Colour 1st and 3rd Paul McCullough, 2nd Harry Pettis.

Advanced Monochrome 1st Harry Pettis, 2nd and 3rd David Foster.

Foundation Slides 1st,2nd and 3rd Mark Allen

Advanced Slides 1st and 2nd Noel Maitland, 3rd Harry Pettis

Member viewing printsFrom these results four colour prints, four monochrome prints and four slides were chosen to represent the club in the first round of this season’s Northern Ireland Photographic Association competition.

Members whose prints were chosen were:-

Colour Prints David Roberts, Mark Allen (2 prints), and Paul McCullough.
Monochrome Prints:- Harry Pettis, Jan McCullough and David Foster (2 prints).
Slides:- Noel Maitland (2 slides), Harry Pettis and Mark Allen.

Thanks to all who entered. Thanks to Bob and Hugh for judging and making very useful comments from which the rest of can learn.
Next week David Foster will be the speaker, his topic being “The Art of Seeing”.
We know David’s work well so it will be interesting to hear how he achieves such a consistently high standard.

Jack Thompson Information Officer

Des Clinton, a teacher from Drogheda, was the first of the 2007-2008 season’s speakers. Having got used to images being projected digitally it was a surprise to find that Des had all of his images on 35mm transparencies. He had also brought some photographs printed on specialist art paper.

From the outset it was apparent that Des was not just an excellent photographer but also an excellent story-teller and that members were in for a very entertaining evening. It proved to be so. His photographs tended to be in groups arranged around a theme, for example, the first group was made up of images of the village of Mullen. A village which had been deserted some years ago as the bridge across the Blackwater river which was the main access route had been destroyed.

Des ClintonThe village had been put up for sale as one lot and Des had taken the opportunity to photograph the exterior and the interior of the houses. The resulting images, sensitively photographed, included the decay of neglect, items left behind by the previous occupants, a kitchen range with turf still stored underneath, presumably to dry, all hinting tantalisingly at how the owners had lived and what the story of their leaving was. These stories obviously fascinated the photographer.

As the evening went on it became more and more apparent the Des’ photography was about stories. Few pictures were close up of any subject. Always the subject’s environment was included. This applied especially to his portraits.

Other groups of photos were of the Ballymun area of Dublin, horse fairs, the horse children in Dublin. Always there was a story to be drawn from the picture. It was interesting how Des remarked every now and then “that picture got a gold medal”, or some other accolade, the emphasis being on the picture winning not the photographer.

He did leave members with a few pieces of advice, among which were, practice makes perfect-you won’t become a good photographer by sitting looking at the camera. Get out and take photographs, don’t expect subjects to come to your door. Think about the background, does it set the context? Does it tell the story? By the end of the evening members knew that Des Clinton practises what he preaches-about photography anyway.

According to the competition secretary, Mark Allen, there was a good entry for the first competition. In Foundation there are 17 Mono and 36 Colour. In Advanced there are 17 Mono and 16 Colour. The outside judge is Bob Brien and our two internal judges are Hugh Rooney and John Miskelly. We look forward to seeing the judges’ results and hearing their comments next week.

Jack Thompson Information Officer

 

As with many other clubs and organisations the first week in September saw the beginning of the formal 2007-2008 session. This was a well attended meeting with a good mixture of old and new faces. In his introduction the chairman Trevor Craig warmly welcomed the new members but advised the club of the death of one of the club’s founding members, Dougie Bruce. Dougie was obviously well remembered by many of the older established members and well respected for his enthusiasm and photographic ability. The club would like to express members’ sympathy with his family at this time of their loss.

Trevor went on to outline the results of work undertaken by the committee. This involves changes to the web site, responsibility for which has been taken over by David Roberts. Thanks are due to Bill Nesbitt for his pioneering work in this area and for acting as webmaster for a number of years. Other changes involve the judging if competitions. These changes are quite far reaching and details are posted on the club’s web site. Finally the chairman reminded members that the annual exhibition is currently on show in the Flagship Centre.

Following Trevor’s introduction the club was entertained by a number of members who had brought images of their holidays or summer activities. It is interesting that only two members brought prints while all of the others had digital images in a variety of forms. Jan McCullough’s prints of portraits of her friends were of the quality that we have come to expect from Jan with her thoughtful approach to all of her work. Joy Burton, a new member, showed that you do not have to travel far to find subjects to photograph; her cat, flowers and clouds were all included.

There were ten digital displays so it would take too long to comment at length on each. David Roberts, Mark Allen and Jack Thompson produced audio-visual presentations with pictures accompanied by sound – in Jack’s case an awful lot of sound!

Gerry Coe’s shots of Andalusia and other parts of Spain showed how with some thought ordinary subjects such as side streets and shadow patterns can become pictures. Jane Morris must have done a great deal of walking in the evening, as her display was almost entirely very evocative sunset images. John Bennett had been on a cruise taking in Greece, Turkey and Egypt. Apart from very interesting photographs, John’s comments, heavily laced with his dry wit, were appreciated by the members.

Mark Lomas had been to the Galapagos Islands and brought back unique close-up images. All of his shots were linked in audio-visual form with sympathetic transitions between images. Peter Nixon’s trip to Madeira produced a veritable harvest of flowers, while Brian Watt took us from Rathlin to the Caribbean’ the Matterhorn, Pompeii and the Tivoli Gardens. The evening would have been a travel agent’s paradise!

Next week a visiting speaker, Des Clinton F.R.P.S. from Drogheda, will discuss his photography and techniques. Members should remember that in accordance with new rules entries for the first competition have to be submitted next week so that judging can take place before the meeting on 21st September.

Jack Thompson Information Officer