Midland Counties Photographic Federation www.mcpf.co.uk Your
Midphot Exhibition MCPF Club Championships Cheltenham CC 150 Years MCPF Guide & Directory MCPF Events PAGB APM Report Compton Verney / Wellesbourne PG Wrekin Arts PC VECC Photo 2015 Fosse Co-op CC The Stereoscopic Society East Midlands A/V Group South Birmingham PS Stafford PS Cotswold Salon Foto Film Academy Permajet ND COUN DLA I T M FEDERATIO N FO HIC PHOTOGRA S P E I Midland Counties Photographic Federation www.mcpf.co.uk Your Federation Your Club Working Together U N D E D 1907 e-Newsletter Contact the editor: Issue 70 February 2015 Roger Barker LRPS 24 Arthur Street WELLINGBOROUGH Northants NN8 3HH Tel: 01933 279554 email: [email protected] e-Newsletter 52nd Exhibition of Midland Photography MidPhot 2015 Mar 25th - 29th The Old Schoolhouse Churchbridge, Oldbury B69 2AS Go to MCPF website for times and details www.mcpf.co.uk or email: [email protected] 2 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 MidPhot 2015 52nd Annual Exhibition of Midland Photography Wednesday 25th March to Sunday 29th March SELECTORS General PrInts & creatIve Panels Malcolm Kus ARPS DPAGB EFIAP/b Michael Krier ARPS MA (Photography) Graham Hodgkiss ARPS MPAGB APAGB AFIAP General Projected ImaGes Martin Fry AFIAP AV-AFIAP BPE2* APAGB Michael Krier ARPS MA (Photography) Graham Hodgkiss ARPS MPAGB APAGB AFIAP nature PrInts & nature Projected ImaGe Gianpierio Ferrari FRPS DPAGB ABPE Ian Whiston DPAGB, AFIAP,BPE3* Malcolm Kus ARPS DPAGB EFIAP/b Closing date for Entries 7th Feburary 2015 THE OLD SCHOOL HOUSE, CHURCHBRIDGE, OLDBURY 3 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Classes and Awards Colour Prints Monochrome Prints Best Print - Judith & Roger Parry Trophy Best Print -Terry Chapman Trophy Best Landscape - MidPhot Golden Jubilee Trophy Best Landscape - Phil Swain Trophy Best Portrait - Jill and Peter Young Trophy Best Portrait Print PAGB Silver Medal PAGB Silver Medal Projected Digital Images Best General Image - Mildred Sothern Trophy Best Landscape - Graham Hodgkiss Trophy Best Contemporary Image - Bert Gutteride Trophy PAGB Silver Medal Creative Panel of Prints Best Panel - Barbara & Ray Porter Trophy Nature Prints Best Print - Alex Watson Memorial Trophy Best Print of a Mammal - David Moore Trophy PAGB Silver Medal Nature Projected Images Best Image - MCPF 75th Anniversary Trophy PAGB Silver Medal Each judge in each class with the exception of the Creatve Panel of Prints will be able to award an MCPF Medal to a photograph of their choice. MCPF Ribbons will be awarded in each class. Definitions Black & White Photography (Monochrome - FIAP) A black and white image is one with tones from very dark grey (black) to very clear grey (white) A black and white image toned entirely in a single colour will be able to stand in the black & white category and can be reproduced in black & white in the catalogue. On the other hand a black and white image modified by partial toning or by the addition of one colour to a part of the image becomes a colour image and should be entered in the colour category. This type of image will be reproduced in the colour pages of the catalogue. Definition of Nature Photography (PAGB Feb 2013) Nature photography is restricted to the use of the photographic process to depict all branches of natural history, except anthropology and archeology, in such a fashionthat a well- informed person will be able to identify the subject material and certify its honest presentation. The story telling value of a photograph must be weighed more than the pictorial quality while maintaining high technical quality. Human elements shall not be present, except where those human elements are integral parts of the nature story such as nature subjects, like barn owls or storks, adapted to an environment modified by humans, or where those human elements are in situations depicting natural forces, like hurricanes or tidal waves. Scientific bands, scientific tags or radio collars on wild animals are permissible. Photographs of human created hybrid plants, cultivated plants, feral animals, domestic animals, or mounted specimens are ineligible, as is any form of manipulation that alters the truth of the photographic statement. No techniques that add, relocate, replace, or remove pictorial elements except by cropping are permitted. Techniques that enhance the presentation of the photograph with out changing the nature story or the pictorial content, or without altering the content of the original scene, are permitted including HDR, focus stacking and dodging/burning. Techniques that remove elements added by the camera, such as dust spots, digital noise, and film scratches, are allowed. Stitched images are not permitted. All allowed adjustments must appear natural. Color images can be converted to greyscale monochrome. Infrared images, either direct - captures or derivations, are not allowed. Images used in Nature Photography competitions may be divided in two classes: Nature and Wildlife. Images entered in Nature sections meeting the Nature Photography Definition above can have landscapes, geologic formations, weather phenomena, and extant organisms as the primary subject matter. This includes images taken with the subjects in controlled conditions, such as zoos, game farms, botanical gardens, aquariums and any enclosure where the subjects are totally dependent on man for food. Images entered in Wildlife sections meeting the Nature Photography Definition above are further defined as one or more extant zoological or botanical organisms free and unrestrained in a natural or adopted habitat. Landscapes, geologic formations, photographs of zoo or game farm animals or of any extant zoological or botanical species taken under controlled conditions are not eligible in Wildlife sections. Wildlife is not limited to animals, birds and insects. Marine subjects and botanical subjects (including fungi and algae) taken in the wild are suitable wildlife subjects, as are carcasses of extant species. 4 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 General Conditions of Entry Entrants must own the copyright of all images used in any entry. The MCPF accepts no liability for any breach of copyright by an entrant. Each entrant may enter a maximum of eight entries in each class - Monochrome Print - Colour Print Nature Print - Projected Image - Projected Nature Image. No entry may win more than one Award. Each entrant must be a member of a club/society affiliated to MCPF. Entry Forms: Please complete an Entry Form for each class entered clearly, accurately and using BLOCK CAPITALS. Entry Forms, Fees, Return Postage should be included in the same package as the photographs. Titles, authors’ names and photographic honours will be based on details included on the Entry Form. Electronic entry forms will be accepted. Entry Fee: A non-returnable entry fee of 75p per print or Projected Image and £3.00 per panel of prints must be included with the entry. Cheques should be made payable to MCPF. Prints (with the exception of the Creative Panel) must be mounted on light weight board not exceeding 50cm x 40cm no thicker than 4mm (thickness of 2 mounting boards) and must be titled and bear the authors name, address and club. Creative Panel of Prints Only one panel per entrant. Any number of prints may be submitted BUT must not exceed more than 1 metre square. To be mounted on lightweight no thicker than 4mm (ie thickness of 2 mounting boards), must be titled and bear the authors name, address and club. Projected Images Images must be jpeg format maximum 1400 pixels wide by 1050 pixels high. (Portraits should be 1050 pixels high). Numbered 1 to 8 followed by underscore then title followed by underscore then name of entrant and saved in sRGB and as jpeg (jpg) eg 1_name of image_name of author.jpg Save the images within a folder titled with the authors name. Entries should be submitted on a CD and bear the authors name(s), and club. More than one entrant per CD is preferrable. Please save authors folders separately in general and nature folders. N.B. slides will not be accepted. Provisos The Exhibition is for work not previously exhibited at MidPhot. The entry of identical images throughout all sections is discouraged. The organisers reserve the right to withhold from public exhibition any entry which, in their absolute discretion, they consider to be undesirable. No submitted entry may be removed from the exhibition without the permission of the exhibition organising committee. It is a condition of entry that any print/DPI may be selected and retained for possible inclusion in the MCPF entry to the PAGB Print/DPI Competitions. Any such print may be copied by the PAGB to form part of the PAGB Recorded Lecture Service. Any DPI accepted in the PAGB DPI Competition will be copied for circulation in exhibition form to Federations, and then subsequently form part of the PAGB Recorded Lecture Service. The organisers reserve the right to copy and reproduce any entry in the catalogue for press or for use in any MCPF promotion. Copyright remains with the author. Every care will be taken of entries but the organisers cannot accept responsibility for any loss or damage however caused. In the event of any dispute, the decision of the organisers shall be final. The submission of any entry is deemed to constitute acceptance of these conditions. Any queries please contact Ralph or Lu Duckett 01283 740291 or email: [email protected] 5 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 EXHIBITION TIMETABLE Closing date for entries to collectors Wednesday 4th February Closing date for Post or at MCPF General Meeting Saturday 7th February Selection Weekend Sat14th & Sun 15th February Results Posted Wednesday 25th February EXHIBITION Weds 25th to Sun 29th March Returns available at collection points by Tuesday 31st March Returns and catalogues posted by Saturday 4th April N.B. Collection from Smethwick PS Club Rooms is Thursday evening only unless by prior arrangement ENTRIES Entries for MidPhot can be sent in the following ways by POST to Ralph Duckett MPAGB EFIAP APAGB - MidPhot Chairman Outwood Hill Farm, Lower Outwoods Road, Burton on Trent, Staffs, DE13 0QX Please remember that entries to be returned by post must have return postage forwarded with the entry fees by HAND to MCPF General Meeting at The Old Schoolhouse, Oldbury or to the following delivery and collection points Mon or Thurs evenings only Smethwick PS Club Rooms 0121 522 0279 Judith & Roger Parry, Birmingham 0121 427 4224 Mary Jenkins, Yardley 0121 628 6105 Ralph Duckett, Burton on Trent 01283 740291 Ian Bailey, Stratford on Avon 01608-663394 Alison and Andy Fryer, Stafford 01785 664109 N.B. Ring after 4pm Mike Chapman, Solihull 0121 733 2521 Roger Barker, Wellingborough 01933 279554 Howard Bagshaw, Stafford 01889 881503 Please contact the above people by phone before delivery or collection You are reminded that entries must be with the collectors by Wednesday 5th February 6 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 MIDPHOT 2015 - ENTRY FORM CLUB/SOCIETY CONTACT TEL. NO: ENTER CONTACT NAME & ADDRESS WITHIN BOX BELOW (ONLY ONE PER CLUB) Email: Please enter below how your work is to be returned Post (remember to enclose your money) Return via one of the collection points Name Collect in person from Smethwick PS (NB Thursday only unless by prior arrangement) PLEASE ENTER ONLY ONE SECTION PER FORM AND TICK THE APPRORIATE BOX BELOW PRINT SECTIONS PROJECTED IMAGE SECTIONS Gen Nature Mono Colour Nature Panels Digital Digital Acc Acc Acc Mark Acc Mark Acc Mark Acc Mark Mark Mark PLEASE PRINT CLEARLY IN BLOCK CAPITALS LISTING AUTHORS IN ALPHABETICAL ORDER AUTHOR’S NAME & DISTINCTIONS TITLE (MAXIMUM OF 8 PER AUTHOR) OFFICIAL USEONLY CATALOGUES MAY BE COLLECTED OR WILL BE RETURNED WITH ENTRY ……………ENTRIES @ 75p or …………PANELS @ £3.00 £ £ : : TOTAL £ : Please make cheques payable to “MCPF” PLEASE FEEL FREE TO PHOTOCOPY THIS FORM or DOWNLOAD FROM MCPF WEBSITE www.mcpf.co.uk 7 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 MCPF Print and PDI Club Championships Roger Parry ARPS EFIAP Hon.PAGB DPAGB MPAGB MmIiıDdLlAaNnDd CcOoUuNnTtIiıEeSs PpHhOoTtOoGgRrAaPpHhIiıCc FfEeDdEeRrAaTtIiıOoNn www.mcpf.co.uk PRINT and PROJECTED IMAGE CLUB CHAMPIONSHIPS 2015 All member Clubs/Societies of the Federation are invited to take part in the MCPF Inter-Club Print/Projected Image #&!%$( !&.(% "%$)*',) &'!")) !+! $)''*$()%$icester, commencing at 10.30am. There will be an admission charge of £6.00 per person attending. All Clubs/Societies must notify us of their intention to compete by Monday 9th March 2015. There is NO ENTRY FEE. The two highest placed eligible Clubs/Societies in each championship will be invited to represent the Federation in the 2015 PAGB Print/DPI Club Championships. AWARDS: THE CHAMPION PRINT CLUB The Terry Chapman Award + MCPF Medal THE CHAMPION PROJECTED IMAGE CLUB The Max & Maggie Fileman Trophy + MCPF Medal THE RUNNER-UP CLUB (in each section) MCPF Medal THE HIGHEST PLACED CLUB (In each section) WITH 30 MEMBERS OR LESS*** MCPF Medal THE BEST PROJECTED IMAGE and COLOUR & MONO PRINT OF THE CHAMPIONSHIP MCPF Medals . MCPF Medals . "( (*** Small club medals will only be awarded if 4 or more small clubs enter) ----------------------------------------------- Judges: Terry Donnelly MPAGB ARPS ABPE AFIAP (L&CPU) Gareth Jenkins ARPS DPAGB AFIAP BPE3* (NWPA) David Gibbins ARPS EFIAP APAGB BPE4* (N&EMPF) Time-table Closing date for advising that you are competing by Entry Forms e-mailed to competing clubs by Bank of projected images and all entry forms to be with the organiser by First round prints by 10am on competition day CHAMPIONSHIPS 10.30am until 4pm Monday 9th March 2015 Friday 16th March 2015 Saturday 11th April 2015 Saturday 25th April 2015 Saturday 25th April 2015 PLEASE NOTE: As you are aware the MCPF selects and holds prints for use in the PAGB Inter Federation Print Competition from MIDPHOT If you wish to use these prints in the PRINT & PDI CHAMPIONSHIPS Please inform me and I will ensure they are available for use on the day. PARTICIPATION IN THE MCPF PRINT & PDI CHAMPIONSHIP IS ON THE CLEAR UNDERSTANDING THAT ALL WORK ENTERED IS AVAILABLE FOR USE BY THE MCPF FOR BOTH THE PRINT & PDI INTER FEDERATION CHAMPIONSHIPS LATER IN THE YEAR ----------------------------------------------- If your Club/Society wishes to take part in either or both of these competitions please inform me by e-mail the Championships organiser: Roger Parry MPAGB,ARPS,EFIAP,HonPAGB e-mail: [email protected] Tel: 0121 427 4224 _________________________________________________________________________________ Affiliated to the Photographic Alliance of Great Britain 8 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 MCPF Print and PDI Club Championships Roger Parry ARPS EFIAP Hon.PAGB DPAGB MPAGB RULES 2015 Print Championship and DPI (Digital Projected Image) Championship General Rules 1. The championships are open to all member clubs of the Midland Counties Photographic Federation. 2. Photographers may support one nominated club of which they are a bona fide member, in either championship NB Clubs are asked to pay particular attention when any using the prints/digital files of a member known to have been, or who is still a member of another club that has participated in the PAGB Print/Slide Club Championships. 3. The two highest placed eligible clubs in each section will be invited to represent the Federation in the relevant PAGB Print/PDI Championship. 4. In the event of a tie the club with the greatest number of highly marked prints/digital files will take the highest placing. 5. Any print used in previously in the PAGB club print championship or a digital file used previously in the PAGB club PDI championship is ineligible. Prints and PDI that have gained awards in previous MCPF championships are also ineligible. 6. The MCPF cannot accept any responsibility for damage or loss to any entry. 7. No entry may be removed without the consent of the organisers. The Federation reserves the right to withhold from public view any print/digital file, which in their opinion they consider to be offensive. 8. Each championship will consist of two rounds. Clubs may enter either one or both competitions. Each club to enter 15 prints and or digital files in the first round of each competition, with not more than 3 prints/digital files from any one author in each section and not more than 4 nature prints/digital files in each section. 10. Entries will be mixed and 3 judges will score in the range 2 to 5. 11. The clubs in the first eight positions in round one will proceed to round two, in which each club will enter: 10 prints/digital files, 5 of which may have been used in the first round with no more than 2 prints/digital files from any one author and not more than 2 nature prints/digital files. The points from each of the two rounds will be added together to decide the final placing. The first round of the DPI championship will be followed by the first round of the prints with the final two rounds will follow after lunch. Prints 12. Prints e and club. Nature prints must be marked Print mount size must not exceed 40 x 50 x 4mm 13. In round one of the print championships there must be at least a minimum of 5 monochrome and 5 colour prints with the balance made up of either. The entry can contain a maximum of 4 nature prints, with not more than three prints from any one author. 12. In round two of the print championship there must be at least 4 monochrome and 4 colour prints with the balance made up of either, 5 of which may have been used in the first round. A maximum of 2 nature prints may be used and no more than two prints from any one author. For this championship the FIAP definition of Black & White will apply. Only un-toned or fully toned shall be considered to be monochrome. Partial toning or the addition of colour shall render the work Colour. . DPI (Digital Projected Image) 13. Clubs are required to submit their image bank consisting of up to 40 files in the form of jpg with a file size of 1400x1050 on a CD by the date shown on the entry sheet. (1024x768 files can be submitted but they will project smaller) (No entries can be accepted after this date) 14 The complete list of files that form the image bank, showing which files are to be used in the first round, must also be submitted at the same time. 15. Nature Images are restricted to a maximum of FOUR in Round 1 and TWO in Round 2 16. Clubs must be willing to allow the higher marked prints and PDIs to be considered for use by the Federation in the PAGB Inter Federation Championships. 9 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Cheltenham Camera Club 150 Years Ian Gee FRPS FBIPP and Martin Fry FRPS APAGB Cheltenham Camera Club reaches 150 and celebrates its distinguished founder. clean drinking water to the town, the foundation of a natural history society (1861) and in 1906, the foundation of the museum which over a century later bears his name. The Photographic Society renamed itself Cheltenham Camera Club in 1936. The only group in town to have a continuous 150 years, it is the sixth oldest such club in the UK, excepting London, founded 1853 which became The Royal Photographic Society. One of the first of Dr. Edward Thomas Wilson’s many significant contributions to Cheltenham was his founding of the Cheltenham Photographic Society on the 4th January 1865 along with his colleague at the Cheltenham General Hospital, Dr. Abercrombie who became President, while Wilson was Secretary. For many decades Wilson’s accomplishments have been overshadowed by his son Edward Adrian, also a physician and a very talented naturalist and artist, who perished with Scott near the South Pole in 1912 and for whom a memorial was erected on The Promenade in 1914. This year with the opening of a newly enlarged museum and art gallery Edward Wilson senior received the recognition he deserves as the new development has been named The Wilson in acknowledgment of the contributions of a distinguished family. Edward Wilson learnt photography as a boy from his uncle, Francis Frith, whose nineteenth century photographs are still widely published today. Frith travelled the country with a mobile darkroom photographing street scenes. People had to remain stationary for up to twenty seconds and Edward appears in a number of these images. Afterwards he would help with the processing in the horse drawn darkroom. Coincidentally Frith’s earliest known photograph of Cheltenham was later, also 1865. Wilson and Abercrombie were early pioneers of photomicrography, a difficult and time-consuming procedure mid-nineteenth century, but Wilson also photographed landscapes and portraits, made easier after 1865 when the introduction of dry plates rendered unnecessary the carrying on location of a portable darkroom tent or alternatively, as Wilson described “rig up my camera and then gallop the distance to and fro on a fast pony.” Wilson was still involved with the Society in the twentieth century. Early years Photography in the eighteen-sixties was a hobby pursued mainly by the upper middle class: doctors, clergymen, lawyers and in Cheltenham particularly, military and naval officers who chose to retire here. The membership seems to have been steady at around forty-sixty during the latter years of the century and it had several homes during this period. By 1891 it rented premises in Bath Road with facilities for developing and enlarging and had a Lime Light Lantern (projector). There were additional darkrooms at Rotunda Terrace, Oriel Road and a ladies’ only darkroom in Clarence Street. Out of a membership of 61, 9 were female. A studio was also available in Oriel Road. Then as now, instructional courses were held to assist members in the many techniques of the period. An exhibition held in 1896 in the Corn Hall comprised 900 images according to a newspaper report and many awards were presented. Surely they cannot all have been prints? Probably just as today we have both prints and projected digital images, so our forbears entered prints and lantern slides. Half time Professional photographers were banned from membership until the nineteen-thirties when rules were changed enabling the town’s most eminent photographer to join. Hugo van Wadenoyen FRPS opened a portrait studio in Cheltenham having previously worked in his father’s studio in Cardiff Among his other achievements were the establishment of a fever hospital, work on bringing 10 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 and in London. He joined the Society in 1936, just as it became the Camera Club. An amateur at heart it is said he took more photographs for his own enjoyment than he did professionally. A very prolific national exhibitor, he also authored many books on photographic technique, lectured and broadcast on photography. He died in 1959 and in 1998 the Club jointly sponsored with the Civic Society a blue plaque which can be seen at 79 The Promenade. Another long standing member was Eric Franks whose book Images of Cheltenham recorded the town during the years 1937-53. Brownie cameras — “You press the button, we do the rest.” Our Sesquicentennial Celebration Commemorating the centenary of the club in 1965 was virtually ignored. Twenty-six pounds was collected from members towards a celebration but in the end this was put into the general fund unspent. For the one hundred and fiftieth anniversary the committee has committed to celebrating in a positive and distinctive way. Unlike 1865 when photography was the preserve of the well-to-do, virtually everyone over the age of about eight uses a camera almost daily. Our aim this year is to demonstrate via a number of exhibitions in the town that there is a lot more to photography than selfies. We are also publishing two books, one will depict our town as it is today, and the other is a history. These will be our legacy to our successors. Despite the ease with which images can be stored on a computer, we believe that books will be more likely to endure. In addition to regular lectures to our 150 members, we have planned talks and exhibitions to which we invite a wider audience. We shall be visiting Edinburgh not just to find new subjects for our cameras, but to share our experiences and photographs with members of the Edinburgh Photographic Society which is just four years older than our club. We shall replicate images taken on our club’s first recorded outing to Raglan Castle. Neighbouring clubs and twin town clubs overseas will be participating in our competitions. Twenty-first century The beginning of the new century has seen the biggest ever change in the technical process of image recording with the introduction of digital imaging. In 2000 all serious photography was still done using film. In 2014 virtually all photographs are produced digitally. Cameras have improved rapidly and prices fallen. Printing can be done at home to the highest standards thanks not only to the hardware, but also the ever easier to use software. Images can be despatched anywhere in the world within seconds by phone; cameras can also be operated from a phone. International competitions can be entered with no more difficulty than club ones. While prints are still extremely popular, projected images using the latest projectors have become a mainstream method of sharing pictures. Manipulation of images to make ‘new pictures’ has become technically simple but it is not new. Our Victorian forbears created pictures by combining several negatives, expertly printed on one sheet of paper. Just because now you can alter images readily, it is all too easy to do so in a way that far from enhancing the aesthetic value, actually decreases it. Although much has changed since the day when Edward Wilson founded our club, two essentials have not. The photographer has still to learn how to use his equipment and processes thoroughly, and the true art of picture making with a camera begins in the head — “point and shoot” may be the manufacturers’ slogan but it is no more a means to creativity than George Eastman’s 1888 catchphrase for his Kodak Cheltenham Camera Club Meets weekly September to May at Holy Apostles Church Hall, London Road, Charlton Kings, Cheltenham, GL52 6HY. Visitors are invited. For further information see www.cheltenhamcameraclub.co.uk or email [email protected] © Ian Gee FRPS FBIPP 11 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 1875 Cheltenham Camera Club Raglan Castle Dr. E. T. Wilson At Sir John Packenham’s, (Left) E.T.. Wilson, Dr Abercrombie with tripod (Founder member) Hugo van Wadenoyen FRPS Photoshoot 1920’s, Jean Krier centre, Michael Krier his son is a member of CCC © Martin Fry FRPS APAGB 12 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Clifton Bridge E.T. Wilson 30 Aug 1870 Hugo van Wadenoyen FRPS Portrait of King George VI Hugo van Wadenoyen FRPS Cheltenham Promenade Thirsty Three 1930’s (Eric Franks ARPS) Eating Fish and Chips Cheltenham 1940’s (Eric Franks ARPS) Watching Hammond - Cheltenham Cricket Festival (Eric Franks ARPS) 13 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 JANUARY 1865 THE PHOTOGRAPHIC SOCIETY A new Society has been formed in Cheltenham for the benefit of those who are interested in the science and art of photography. The Society will give its members the opportunity to share and develop their knowledge of photographic techniques as invented by Mr Henry Fox Talbot and M. Daguerre, so that members my make use of photography for scientific study, documentary records and artistic expression. Meetings of the Society will include lectures by members and visiting speakers in order to disseminate knowledge of the processes, techniques and equipment required to make the best photographs. Smaller groups with specialist interests such as Studio work and technical advances will be encouraged. It is also intended that outings to places of interest will be arranged. Sir John Packenham's, Raglan Castle and the new suspension bridge at Clifton, Bristol have been suggested. The Society will also arrange for exhibitions of the work undertaken by members in order to acquaint members of the public with photography. The work of members may also be subjected to constructive criticism and judgement by other members and by experienced photographers from other Photographic Societies. It is the intention of the Society to seek premises to be available for meetings and the establishment of a darkened laboratory for members to prepare and develop photographic materials, to prepare photographic prints and for the safe storage of the chemicals required. It is also hoped that female members of the Society may be encouraged by the provision of a darkened laboratory for their own use. Any person who is interested in becoming a member of the Cheltenham Photographic Scociety is invited to contact the Honorary Secretary, Dr. E.T.Wilson of 28, Montpellier Terrace. MAKING A PHOTOGRAPH The photographer must be aware of the limitations of the photographic process available to members at this time. The sensitivity of photographic plates is increasing as the materials used are being improved. However, it is still necessary for the photographer to make provision to ensure his subject does not move during the exposure, which may typically be between 1 second and 30 seconds, depending on the available light. A studio for photographic work should have ample daylight but also means to diffuse the light to ensure that shadows are not too intense. The photographic experimenter will also have noticed that the plates prepared in the way described here are sensitive to blue light only and that while it may be hoped that this may be extended in future to include green light and ultimately red light, so that the whole spectrum may be covered, the photographer must be aware of the current limitations. It must be noted that red coloured subjects will be rendered as black on the print, whereas blue subjects will be rendered as white or light grey. A landscape with a blue sky and clouds will be difficult to capture correctly, as the sky will appear white when the land is correctly exposed. It is known that photographers, such a M. G. Le Gray, in his "Great Wave at Sete" have resorted to using two negatives to achieve a satisfactory sky, a technique which can also be used to create a montage of photographs. PURCHASING A CAMERA The keen photographer will wish to purchase the best camera that his resources allow, such as that shown in Figures 1 and 2. The camera is a simple device, consisting of a lightproof box with a lens on the front and the means to hold the photographic plate on the back. For focussing, the plate holder may be replaced by a ground glass screen. A means of adjusting the distance between the lens and the plate is required to achieve accurate focus. The lens may be covered by a cap which is removed for the time assessed for correct exposure of the plate. A sturdy tripod will be needed to support the camera during exposure. When travelling, the camera may fold down and be carried in a compact box with its tripod (Figure 3). When focussing and framing the image, the photographer will note that the image is reversed vertically, a feature which he must learn to accept. It is reported that a camera with a hinged mirror will become available, such that the image is projected on to a screen on the top of the box, where it will appear to the photographer in the correct orientation. The camera will be the subject of much development in the future. It will become lighter and more portable and make use of improvements in the process, the production of plates and means of capturing the image, and in the design of the camera features. It is even possible that one day, photographers will no longer have to peer at a screen on the camera to frame their pictures. 14 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 JANUARY 1865 IN FOCUS A METHOD FOR PHOTOMICROGRAPHS Dr Abercrombie and I have been experimenting with techniques for photgraphing microscopic objects. Here we describe a method which may be set up in a photographic chamber such as any type of sitting room. A blackened wooden board, A, about 8 feet in length, forms the baseboard which is mounted on a sturdy support such as strong trestles. The focussing box of an ordinary camera, B, with its focussing screen, the microscope, C, and illuminating apparatus, D, being all kept in a straight line by side strips of wood. The microscope is movable on a sliding board and can be clamped at any distance, or the camera box and microscope made to approach or recede from one another singly or together. A couple of strips of blackened wood, E, are attached to the eyepiece end of the tube of the microscope, and slightly diverging to the top of the camera. The whole of this part is covered with black velvet, F, pile inwards, and well secured from outside lights at all parts, especially round the tube of the instrument. The focussing screen is of glass covered with collodion, sensitised and covered with a solution of tannin. The draw tube of the microscope, if any, is removed and the tube lined with black velvet. The microscope lens requires a small aperture in order to create the optimum depth of field. Accurate focus is difficult to achieve (due to chromatic aberration and the difference between visual and actinic focus) and involves some trial and error. The time of exposure for wet collodion plates varies, and should increase according to the colour of the object, and the degree of enlargement. A tolerably light object, magnified fifty diameters, may need ten minutes with an oil lamp. We have experimented with oxycalcium light but prefer to use burning magnesium wire, G. The former requires a supply of oxygen, but the latter is difficult to keep steady and a means needs be devised for burning the metal uniformly and at a fixed point. By placing a small vessel of warm water in the camera, to keep the collodion plate moist by its vapour, we have exposed plates forty minutes with success. This apparatus is at present installed in my drawing room at 28 Montpellier Place which I have converted, furnishing it with a camera, the necessary chemicals, a candle, a tripod stand, a steady table, a bucket, a jug and a good supply of water and may be viewed by appointment. Examples of the photographs made by this technique will be on display when the Society meets at Parabola House on January 8th. In the uninterrupted quiet of a long winter’s evening, by a comfortable fire the student of natural phenomena has everything at his command, and is enabled to record with a faithfulness otherwise unattainable many interesting appearances which would otherwise be irretrievably lost. Dr EDWARD T WILSON SIR, For twentyfour years I and a few select citizens have exclusively been taking photographs but now our exclusive position is about to be undermined. Whenever I wish to go photographing my equipment is loaded into the brougham and I head for the countryside. While I fit up the camera my manservant erects the darkroom tent. I then go into the tent, mix the chemicals, load the darkslide and return to the camera. Following the exposure, the plate is developed in the tent. Upon completion the equipment is dismantled and I return home for a well earned luncheon. But now thanks to the misguided introduction of dry collodion plates, any Thomas, Richard or Henry can carry his camera and plates in a shoulder bag, jump on his pony and visit two or even three locations before returning in time for a game of croquet before lunch. This is a deplorable situation and the thin end of a wedge; before we know it, the servants will be wanting to take photographs. YOURS ETC., INDIGNANT, CHELTENHAM SIR The formation of a Photographic Society in Cheltenham is a force for good. Children should be seen but not heard and that requires discipline. One way of instilling this in them is by getting them to sit absolutely motionless. For a photograph they need to do this for about half a minute, but they do not know that. The photographer should pretend it is half an hour and ensure they remain still for that period of time. With the formation of the new club there will be many more photographers about, and in taking pictures of children in the manner of Mr C. Dodgson of Oxford, they will contribute to the education of the lower classes. CAPTAIN HOOK, R.N. (RET'D) SIR, I read the announcement of the formation of a Photographic Society for Cheltenham with great foreboding. It will result in widespread health problems, and I am shocked that two respected physicians, Dr Abercrombie and Dr Wilson are behind this and can only suspect an ulterior motive. It is well known that the chemicals used in photography are extremely harmful when inhaled and are also injurious to the skin when handled. If photography becomes widespread our hospital will be flooded with patients. We must prevent the formation of this new Society at all costs. If elected I shall introduce a bill in Parliament outlawing the chemistry. YOURS ETC., KINGSLEY ILLJOY, PARLIAMENTARY CANDIDATE FOR CHELTENHAM 15 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Cheltenham Camera Cub: Our Sesquicentennial Year citizens, founded a natural history society and later the Museum, and was the father of the distinguished Antarctic explorer Dr Edward A. Wilson, whose death with Scott the town recognised with a statue in 1914. He also described his early photographic achievements leading very neatly to our first lecturer of the evening, Roger Watson, curator of the Fox Talbot Museum at Laycock Abbey, the family home of William Henry Fox Talbot, one of photography’s two inventors, the other being the Frenchman Louis Daguerre. Entitled Capturing the Light the parallel stories of their pioneering work is fascinating because of their completely different characters, and their approaches to their project. Can it really be said photography had two inventors? Asked Roger. Yes, he said, it often happens and cited numerous other inventions. He concluded his talk just as photography had been announced in January 1839 by Daguerre in Paris and by Talbot in London. It would be good to listen to Roger Watson again, and hear the next sequence in this fascinating tale. During the interval the audience was invited to view the exhibits in the adjacent gallery. The principal award — the best in show — at the club’s annual exhibition is the Lloyd and Gregory Cup and as many winning prints as could be resourced from the last few decades were shown along with a few other category winners. Looking at the display it was interesting to see the variety of subjects, the different treatments and the fact that so many different members had achieved this ultimate accolade. Many of course were from pre-Photoshop days. Speaking to a few members, they all had their own choice of ‘best of best’ and none of them agreed, other than to say that extensive use of Photoshop is a useful tool, but no guarantee to success. Back in the auditorium ‘Dr Wilson’ announced The Victorian Peerless Magic Lantern Show. We had already seen the lantern itself in the rear stalls, a magnificent piece of Victorian equipment fabricated in shiny mahogany and gleaming brass, this was a double slide version, effectively two projectors, one above the other. Originally illuminated by gas or oil, it has been converted to electricity enabling each part’s For those of us who had been thinking about it and preparing for it for weeks, months or even longer January 8th 2015 had at last arrived. It was not just the date of the first meeting after the Christmas break, it was the first event of our Sesquicentennial Year. Not only is our Camera Club one hundred and fifty years old, it is the only cultural society in Cheltenham with such a long continuous history and it is the sixth oldest photographic society in the UK. The day we had been planning for had at last arrived. What a relief to know that the weather was going to be kind to us - no snow, no fog, no gales. Not only were the two principal speakers travelling from south of the Cotswolds, many of our invited guests were coming from further afield. Sticking to our regular Thursday meeting night, this was just one hundred and fifty years and four days after the very first meeting of the Cheltenham Photographic Society, and was very different not only to that meeting, held in the private house of one of the founders, but to our regular club meetings in a church hall. Tonight we were in a stateof- the-art theatre with superb sound and lighting, comfortable tiered seats, a very large projection screen and bar facilities. Without any introduction the house lights dimmed to total darkness and the screen burst into life with Big Ben striking midnight and heralding the New Year with fireworks. 2015 had begun and then in a fast moving creative AV we were swept back 150 years to the beginning of the Club. Alternating images showed us world events, local events and photographic gear of each corresponding era to an ever changing sound track as we were transported through a century and a half. As it came to its climax and rapturous applause a Victorian figure entered the spotlit stage. He told us that he was Dr Edward T. Wilson, joint founder of the club and fascinated the audience with an account of his many contributions to our town. We are fortunate in that our illustrious forbear not only began our club, to which he remained loyal throughout his life, but established a fever hospital in the town, brought clean drinking water to the 16 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 illumination to be brightened or darkened by a dimmer, rather easier for the operator than in the days of the afore mentioned fuels. ‘Professor’ Mervyn Heard presents the show as a one man band and must often wish he had more hands. In the days before cinema the only action on a screen was via the magic lantern and the Victorians were certainly inventive: some slides had secondary images that revolved within the mount, others had a secondary image that could be slid into the gate thus being superimposed over the first. Combined with a second projector (integral in this case) additional moving images could be added. Mervyn demonstrated an assortment of original slides, many from before the days of photography when all the images were hand painted. Once photography was available the selection of subjects increased to include views of far away lands, and picture stories rather like comic strips, posed by ‘actors’, often in front of badly painted backgrounds. Apart from having to be ambidextrous, Mervyn continued his commentary fluently throughout with a burst of singing at one point, an epic performance, which was much enjoyed by his twenty-first century audience. He finished with a classic favourite, a slide of a man snoring; as he snores he opens his mouth and a rat runs up his body into the open orifice. The Victorians may not have experienced the age of electronics but they certainly lived in and enjoyed to the full the age of mechanical invention. The evening concluded with the Treasurer and a Trustee of the Royal Photographic Society, which is twelve years older than us, Geoff Blackwell, thanking the Club for putting on such an entertaining evening, congratulating us on achieving 150 years and declaring our sesquicentennial year well and truly started! The celebratory aspect of the evening was enhanced by about twenty members who hired Victorian costumes of great variety and colour and at the conclusion great fun was had when they assembled on the stage for an impromptu photoshoot. Earlier in the day BBC West came and filmed Martin Fry (in costume) and actor Andy Meller (who played Dr Edward Wilson) and this was shown on BBC Points West just before 7.00pm. Also included was Roger Watson, filmed earlier at Laycock. BBC Radio Gloucestershire had featured an interview with Martin a couple of days earlier, and the local daily paper, The Gloucestershire Echo carried an illustrated feature a few days after, all this publicity drawing attention to the club and its achievements both in the past and in the present. The Club can claim a triumphant commencement to its sesquicentennial year, but this successful start did not happen by chance. We had a team of enthusiasts, each responsible for different items. Martin Fry, one of our longest serving members and an acknowledged expert in the world of AV (as well as other areas of photography) made the opening sequence to set the scene, and was also the overall leader of the team. Others were responsible for overseeing the technicalities of the proceedings, hanging the exhibition, publicising the event, organising the team of stewards and managing ticketing, issuing invitations to VIPs, book and commemorative mug sales and not least, catering for all the helpers, Parallel to the preparation for the evening, another member, Sandie Prowse had been working on one of our major efforts of the year, the publication of a book to be launched on the evening. With chapters written by several members, the book tells the story of photography in Cheltenham from its first professional studio (less than six months after the first in Europe, in London, through the formation of the Cheltenham Photographic Society in 1865 to the present day. Needless to say sales on the evening were brisk. Publishing this book was one of the major objectives of the 150 Committee as we felt we wanted not only to enjoy our anniversary, but to leave a legacy for our successors in a tangible form and despite this being the age of electronic archival storage; we know that books can have long lives if kept appropriately, and copies are being placed in various archives. Copies are available for purchase £10 inclusive of p&p. Please contact [email protected] © Ian Gee FRPS FBIPP 17 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Roger Watson - Curator of Fox Talbot Prof. Mervyn Heard with his Magic Lantern Andy Mellor as Dr. Wilson Capture the Moment 08.01.2015 © Martin Fry FRPS APAGB 18 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 General Secretary Mary Jenkins APAGB MCPF Guide and Directory 2014 Update 5 Recent changes since 23rd December 2014 Burton Latimer and District Photographic Society Disbanded as from 10th December 2014. Grange Photographic Society Please address all correspondence to the Chair Joanne Sutton, 2 Roman Road, Stoke, Coventry, CV2 4LD Telephone: 02476 442 890 Email: [email protected] Great Barr PS New secretary Margaret Williams, 29 Shelton Close, Wednesbury, WS10 0TZ Telephone 01215020309 Email: [email protected] Wolverhampton Photographic Society Please address all correspondence to the Chairman Gwynneth Chubb, 87 Castlecroft Road, Finchfield, Wolverhampton, West Midlands, WV3 8BY Telephone 01902 761354 Email: [email protected] 27.01.15 19 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 General Secretary Mary Jenkins APAGB MCPF Events 2015 And other notable dates MCPF General Meeting Saturday 7th February 2015 ***Please note the earlier start time at 2.30pm*** Doors are open at 1.30pm The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS For information contact General Secretary Mary Jenkins [email protected] Also this is the closing date and hand in for MidPhot Any queries contact Lucia and Ralph Duckett ... [email protected] Saturday and Sunday 14th &15th February MidPhot Selection Wednesday to Sunday 25th to 29th March MidPhot Exhibition of Midland Photography The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS Saturday 25th April MCPF print and PDI Championship Civic Centre, Braunstone, Leicester Contact Roger Parry [email protected] Friday 1st May to Sunday 3rd May Midland Salon Selection Contact Judith Parry [email protected] Thursday 7th May Closing date for Photofolio Enquiries please contact Photofolio Liaison Officer Judith Parry [email protected] Sunday 10th May Photofolio Selection Wednesday 3rd June Opening of Photofolio The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS For information contact Judith Parry [email protected] Wednesday 3rd June to Saturday 6th June Photofolio is open for 4 days The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS For information contact Judith Parry [email protected] 20 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 General Secretary Mary Jenkins APAGB MCPF Events 2015 And other notable dates Saturday 6th June MCPF Annual General Meeting For information contact General Secretary Mary Jenkins [email protected] Close of Photofolio Saturday 13th June to Sunday 21st June Midland Salon open for 9 days More information to follow Saturday 11th July 2015 PAGB Inter-Club PDI Championship Arts Centre, Warwick University Details to follow Saturday 5th September To 18th September FIAP Colour Print Biennial on display at The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS Sunday 18th October Judges Seminar Saturday 24th October PAGB Inter-Federation Print Championships Venue details to follow 21 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 PAGB Awards for Photographic Merit (APM) David Venables DPAGB The adjudication at Kegworth has now been completed and I have just received the results. I am pleased to report that 12 candidates from the MCPF have been successful in obtaining a CPAGB. A total of 4 candidates have obtained their DPAGB We have had 3 candidates who have been successful in obtaining their MPAGB of which one was our very own Roger Parry There is a further closed adjudication being held in Dumfries, and I am hopeful that we will have more candidates from this area being successful in obtaining their awards. Certificates will be with us for presentation at the end of January and will be presented at a future General Meeting. David Venables DPAGB Awards Officer 22 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 ‘A sense of Britain’ Compton Verney Photographic Competition The Photography Hub As part of the Martin Parr exhibition, Compton Verney will be providing a space called The Photography Hub on the ground floor of the gallery. Within The Photography Hub we will be showing selected works submitted to a new photographic competition. Photographic clubs/groups are invited to submit works from their members on the theme ‘A Sense of Britain’. This theme has been chosen as both of our 2015 spring exhibitions address the theme of ‘Britishness’ in two quite different ways: photography by Martin Parr and paintings by Canaletto depicting British landscapes and architecture. The Photography Hub will be open for use by photographic clubs / groups for meet-ups and discussions about their own photography and other photographers’ works with fellow members. There is also the opportunity for you to show information about your club / group or events, and anything else photography related which might be of interest! The Photography Hub will be open Tuesday, Wednesday and Thursday between 11am and 5pm (Please note: The Photography Hub may be open on select weekends please call 01926 645 500 at least a week before your visit to enquire.) Competition details Calling all Photographic clubs / groups We are looking for 30 photographic clubs / groups to enter our competition. If interested your club / group must indicate your expression of interest by completing the application form attached and returning it by email or post (details below) by 5pm on 22 February 2015. Please send your completed forms to : [email protected] Flora Cranmer-Perrier, Programming Officer Compton Verney Art Gallery, Compton Verney, Warwickshire, CV35 9HZ If your club / group have been successful you will be notified and must hand delivered or post your submissions to arrive by 4pm on 6 March 2015. Emails with attachments cannot be accepted Submissions should be addressed to: Penelope Sexton, Curator or Flora Cranmer-Perrier, Programming Officer Compton Verney Art Gallery, Compton Verney, Warwickshire, CV35 9HZ Submission criteria Each submission may be a single print or a pane Each club / group can enter a maximum of 6 submissions Overall size (including mount) must not exceed 40cm by 50cm in portrait or landscape format Submissions must be card mounted only, framed prints will not be accepted Clubs / groups must provide, name, date, title of each print, details of the photography club/group including contact email, phone number and address. Forms to list this detail are in the successful entrants’ packs Compton Verney, Warwickshire CV35 9HZ Tel: +44 (0)1926 645 500 Fax: +44 (0)1926 645 501 www.comptonverney.org.uk Supported by Registered charity no. 1032478 23 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 ‘A sense of Britain’ Compton Verney Photographic Competition Display restrictions Club / group works will be displayed together Visual display method will be at the discretion of the curator We will only be able to show works from 30 photographic club / groups. These will be selected on a first come first served basis Each club/ groups works will be on display in The Photography Hub for approximately 2 weeks whilst the Martin Parr exhibition is on display Clubs / groups will be informed when their works will be on display Prints will be displayed in The Photography Hub at the owners’ risk. Competition voting From each 2 week display, the public will vote for their favourite work. From this shortlist, the winners will be chosen by a select committee. There will be one overall winner and runners up. What you’ll win The competition winner and runners up will be announced on Monday 1 June. Their works will be on display in The Photography Hub during the final week of the exhibition. The Prize is a Compton Verney certificate and family membership (for 2 adults, up to 4 children, worth £60), valid for 1 year during our open season Print return will be arranged with the groups after the 14th June 2015. Need more information? For competition queries please contact Marc McGlen, Membership Secretary Wellesbourne Photo Group (WPG) at [email protected] Exclusive Ticket Offer for Photography Club/Group Members: Pre-book your group visit and save up to £9 per person We will offer discounted admission to Compton Verney at £6 per head and a free upgrade to our exhibition ticket enabling your group to visit the Martin Parr exhibition. PLUS Free ticket for group organiser Welcome on arrival Discount in the shop Priority entry (no queuing) or early opening can be made by arrangement UPGRADE YOUR VISIT BY ADDING 1 hour tour of collection or exhibitions at £3per person Pre-booked discounted catering is available (morning coffee, lunch or afternoon tea) Offer terms and conditions For a group of a minimum of 15 people Group must be pre-booked please contact Emily Medcraft on [email protected] or 01926 6455 516. Compton Verney, Warwickshire CV35 9HZ Tel: +44 (0)1926 645 500 Fax: +44 (0)1926 645 501 www.comptonverney.org.uk Supported by Registered charity no. 1032478 24 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Photographic Clubs / Groups EXCLUSIVE TICKET OFFER PLEASE PRINT CLEARLY IN BLOCK CAPITALS Club / Group Name: Officer’s Name Position in Club / Group Contact Address: Postcode: Tel Number (inc. dial code): Mobile: Email Address: Signature: Date: 1. My Club / Group wishes to submit up to 6 entries into the Compton Verney ‘A Sense of Britain’ Photographic Competition to be on display in The Photography Hub between 14 March and 7 June 2015 2. I understand that only the first 30 Clubs / Groups submitting this application form to express an interest in participating qualify for entry into the competition 3. I understand there is not an entry fee for this Compton Verney Photographic Competition 4. I further understand that the actual accepted submissions must be received by Compton Verney by 4pm on 6 March 2015. Submissions after this time will not be displayed or included in the competition. Please send your completed form to: [email protected] Flora Cranmer-Perrier, Programming Officer Compton Verney Art Gallery, Compton Verney, Warwickshire, CV35 9HZ This form must be received by Compton Verney by 5pm on 22 February 2015. The information in this form will not be shared with third parties Compton Verney, Warwickshire CV35 9HZ Tel: +44 (0)1926 645 500 Fax: +44 (0)1926 645 501 www.comptonverney.org.uk Supported by Registered charity no. 1032478 25 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 WREKIN ARTS PHOTOGRAPHIC CLUB PRESENTS A Full Day Digital Workshop with LIBBY SMITH, MPAGB,APAGB,EFIAP,BPE3* Sunday February 22nd 2015 at10:30am Belfrey Arts Centre ,Princes Street, Wellington, Telford TF1 1JG § Raw conversion to mono and colour • HDR : Layers and masks • Paper choices for prinLng • Tickets £20 inc.tea ,coffee & biscuits. Please bring a packed lunch. contact Sheila Thomas, 5,Ashmore drive, Trench, Telford.TF2 7EN Tel-‐01952 617170 Email [email protected] 26 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Vale of Evesham Camera Club – National Digital Internet Exhibition Photo2015 Accepted images on website from 10 April 2015 Vale of Evesham Camera Club proudly announces the staging of our 26th Annual and 17th National Exhibition which has both BPE and PAGB patronage. The Exhibition is open to 4 Digital Categories:Colour Images Experimental/Creative Images Monochrome Images Natural History Images SELECTORS:Sandy Cleland FRPS, AFIAP: Experimental, Mono, Natural History Karen Berry FRPS, AFIAP: Colour, Mono, Natural History Peter Gennard MFIAP, EFIAP/p: Colour, Experimental, Natural History Peter Rees FRPS MPAGB EFIAP/p BPE5*: Colour, Mono, Experimental photo VECC l iona Nate e n t Int ibrition Exh b ra Clu Came tion Crown esham ic Exhibi of Eitsvih Photograph le a The Ved to the Br Awards 20 15 Affiliat KEY DATES:- Last date for Entries: Wednesday 25th February 2015 Selection: Saturday 7th and 8th March 2015 Accepted images will be viewable on the exhibition website www.eveshamphoto.net from 10th April 2015 until the following years’ exhibition. (Peter Rees replaces Graham Hodgkiss due to Graham's forthcoming hip operation.) Entry can be made easily online, our preferred option, or entry forms downloaded for postal CD entry from the exhibition website www.eveshamphoto.net. (Please note new website address) 27 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 The Fosse Co-op Camera Club INTER CITIES PROJECTED IMAGES COMPETITION 2015 This will be held in our usual venue St Peter’s Church Centre, West Holme Street, Leicester, LE3 0TA At our Evening Exhibition Event Saturday 28th February 2015 17 Clubs have been invited to take part, and it should be a really good evening The judge for this year is David Gibbins ARPS APAGB AFIAP Programme is expected to be: (All times are approximate) 7.30pmDoors open 7.45pm Official Welcome followed by Part 1 of Inter Cities Competition 8.15 to 8.30pm Break for refreshments and Viewing of prints 9.00pm Showing of Audio Visual and Fosse Images, followed by Part 2 of the Inter Cities Competition 9.45 to 10.00p Draw Raffle Summing up by Adjudicator, Award of Trophy, Medal and Certificates Enquiries to: Mary Stapps 32 Norfolk Road Desford Leicester LE9 9HR Honorary Secretary Telephone: 01455 824039 Mobile: 07828675695 28 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 OLD BIRMINGHAM in 3D Saturday 7th March 2015 – 2:30pm The Stereoscopic Society – Coventry St Barbara's Church Hall, 24 Rochester Road, Earlsdon, Coventry, CV5 6AG FREE Entrance for First time visitors, normally £2.50 including refreshments. Please join us to see projection of 3D photographs of Birmingham around the 1960s and reminisce about what has come and gone and where you used to go. Our meetings use cinema-like large screen 3D projection, providing a glimpse into the history of Birmingham in three dimensions, just like being there in the past. Some of the amazing 3D images include: Building the Rotunda 1960s reconstruction New Street Station Christmas illuminations Canal scenes Shop windows at night General views around the city In the first half of the meeting members of The Stereoscopic Society will show how they create modern 3D videos. Making your own 3D Videos to view on a 3D TV has come of age and is easily achievable with the 3D camcorders and software now available. For further details contact: Bob Pryce : 024 7641 8239 [email protected] www.StereoscopicSociety.org.uk 29 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 30 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 AFFILIATED TO THE PHOTOGRAPHIC ALLIANCE OF GREAT BRITAIN THROUGH THE MIDLAND COUNTIES PHOTOGRAPHIC FEDERATION SOUTH BIRMINGHAM ‘IMAGE 15’ BPE DIGITAL EXHIBITION PAGB Patronage and BPE Accredited Exhibition FIAP rules apply ***************** Our Judges are: John Cartlidge EFIAP/p APAGB BPE4* Bob Dennis CPAGB AFIAP APAGB Mike Edwards ARPS BPE5* There are four categories to enter: Colour Images (COL) Monochrome Images (MON) Natural History Images (NH) Portraits Colour/Monochrome (PORT) Exhibition entries, via South Birmingham website preferred, but may also be posted on CD. Payment via PayPal preferred, cheques accepted. Full entry details on our website. The Exhibition Calendar 2015: 12th January first date to enter your DPI’s 22nd March last date to send your DPI’S 11th and 12th April Judges’ selection 19th April Exhibition results will be sent out 25th April South Birmingham Exhibition Day (free entry for participants) Awards: PAGB Gold, Silver and Bronze Medals PAGB Ribbons for Highly Commended BPE Judges Awards in all categories Website: www.southbirminghamphotographicsociety.co.uk 31 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 The JJrney an evening with KT Allen I did not start my path in the amateur world by conventional means. It was a rough and emotional start that threw me into an amazing journey both personally and at club level. I hit the ground running, yet beneath it all there is just a creative worker wanting to visually express thoughts and emotions. This talk is about the journey starting in club photography and the difficulties of the hobby as a creative worker. 28th April 2015 @ 7.30pm The Arthur Findlay Centre, Cooperative St. Stafford ST16 2RS Members £2.00 Visitors £5.00 www.staffordphotosociety.org.uk Limited places available To reserve a seat please contact Janet Stubbs at: [email protected] 32 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 Cotswold Salon The National Exhibition of Monochrome Photography is celebrating the 20th Anniversary of the exhibition. Photo by Michael Windle ARPS All UK photographers are invited to submit a monochrome print entry by the closing date of Friday 29th May 2015. Entry forms and conditions may be downloaded from http://cotswold-monochrome.co.uk The exhibition will be held at Blackfriars Priory, Gloucester Thursday 23rd July to Sunday 26th July 2015 10am to 5pm Visit http://cotswold-monochrome.co.uk for full details 33 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 34 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 35 ND COUN DLA T MI FEDERATIO N FO HIC PHOTOGRA P IES e-Newsletter U N D E D 1907 MCPF Newsletter Editor Roger Barker LRPS Get your Club Events, Exhibitions and Information into the MCPF Newsletter email your Information to: [email protected] Copy deadline dates below: Edition Copy Deadline January February March April May June July August September October November December 23 December 27 January 26 February 25 March 25 April 27 May 25 June 25 July 26 August 25 September 28 October 24 November Subscribe to the MIDLAND COUNTIES PHOTOGRAPHIC FEDERATION NEWSLETTER Send your email address to the editor: [email protected] 36
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