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Ginger Anthony
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sporting chance George Ledger makes a fresh start In June 2010 I retired from my career of 30 years and didn t know what I wanted to do, except that in my mind (if not body) I was too young to retire.

) and do something enjoyable that wouldn t spoil my hobby and love of all things Photography.

2 sporting chance George Ledger makes a fresh start In June 2010 I retired from my career of 30 years and didn t know what I wanted to do, except that in my mind (if not body) I was too young to retire. I knew I wanted to try something involving photography but what? How could I occupy my time, make money (or at least not spend too much!) and do something enjoyable that wouldn t spoil my hobby and love of all things Photography. So after careful consideration and an examination of what I liked and what photographic skills and equipment I had, I decided (rather naively) that I would become a sports photographer. I had a very brief introduction to the genre on an outing with Hexham Photographic Society (led by Keith Robertson ARPS) to Morpeth Rugby club, now all I needed to find out was, how do I start! One of the first problems I encountered was that there didn t appear to be any training courses, centres of information or career advice available anywhere. I approached several local premiership teams, rugby, football, athletics etc. and sent lots and lots of s however all the replies informed me that I couldn t take photos at their games. I either needed to be a pro or I needed insurance or I needed a newspaper or magazine to be backing me! and a host of other obstacles. All in all, a little disappointing. However just before my idea ended before it had begun, I received one positive reply, one venue, one sport had come through and saved my mad cap idea by offering me the chance to take some photos. It was Rugby 7 s and not just any game nor just any venue, I was going to the Emirates Airlines World Series finale at Murrayfield, Edinburgh, the home of Scotland s national team I wasn t going to miss it or mess it up! I attended on the Sunday to photograph the quarters, semi s and finals of the series and was pleased that at the (press) briefing I found out that I could take photos of the presentations too. All of the big countries were there New Zealand, Australia, England, South Africa, Samoa etc. in fact all of the best Rugby 7 s teams in the world plus Scotland. I took my entire photographic kit for the event - 2 Canon DSLR s (40D and 5D mark 2) a , and zooms but as I looked around at what the proper pro photographers were carrying, I really had lens and camera envy. However I kept repeating its not what you have its what you do with it a saying that I ve heard several senior members of camera clubs say to new starters to keep them involved, so I forgot about my equipment s limitations and decided to ensure I got the best from what I had. Being pitch side allowed me a lower viewpoint than from the public seats, being positioned behind the touch lines allowed me dynamic images as the players were running straight at me. I set my camera to Aperture Priority (AV) took a quick meter reading and set my ISO to 400 to ensure a fast shutter speed to freeze the action, at my maximum aperture of F4.0. I had a great day, mingling with real sports photographers from Getty, Reuters, The Times etc. and also taking photos of real sportsmen in a proper sports ground with a crowd in the background, I was hooked and knew this was something I enjoyed and believed that I could do. 2

8 lens (retirement present) and traded my 40D for a 7D camera to supplement the 5D in the hope of getting more from my opportunity.

Restricted this meant I could look straight down the 100 mts track and see the finish of all the races.

3 NEwsletter 2012 On my return home I set about sending off several dozen more s before receiving my next positive response. This time I was going to an Athletics meeting, the Aviva UK Championships and European Trials! By now I had treat myself to a 400mm F2.8 lens (retirement present) and traded my 40D for a 7D camera to supplement the 5D in the hope of getting more from my opportunity. After a quick tour of the Stadium, Alexander Stadium Birmingham and a press briefing, I was given a media vest and told I was restricted to the outside of the track. Restricted this meant I could look straight down the 100 mts track and see the finish of all the races. It also meant I could walk around the track to the long jump, triple jump and pole vault pits to take photos of th ose too! I didn t feel restricted and I certainly was not going to let the restriction limit my opportunities. I quickly took my action shots using the telephoto lens of the main track races but in between these races it was time to be creative with the field events using a wide angle lens and moving around the pit to change the view point. I was amazed at the areas I was allowed to get into to take my photos and even more amazed that the athletes didn t notice me, they were in the zone concentrating to make the perfect jump. My major concern was not to stray in front of the TV cameras and spoil their shot as that was a cardinal sin and may lead me to being asked to leave. Still this didn t restrict my movements too much and I could experiment with different focal length s and different viewpoints to try and capture something more creative. I also started visualising types of images I would like to make, I knew I would have to have a return visit. After two successful outings and many more s it was time to get an agency on board, as I was told when applying to different sports that this was what I should do. And so instead of just ing different sports venues, leagues and clubs I started to compile a portfolio of images that I could hopefully impress a Sports Photography Agency with but that s a different story. Rugby World Sevens Colin Gregor, Scotland, scoring a try [top] England v Samoa in the semi-final [above] Samoa: Edinburgh & World Series Champions [opposite centre] Aviva European Trials and UK Championships Silke Spiegelburg in the women s Pole Vault [cover] A composite image of Laura Samuels winning the Triple Jump [opposite top] Dwain Chambers (Belgrave Harriers) winning the 100m Mens Final [left] 3

As a lecturer he is an excellent entertainer, telling great stories, often humorous and always accompanied by incredible images.

4 NEwsletter 2012 Who s Wh 201 Friday 6 January Andy Rouse Andy is one of the world s leading wildlife photographers. His work has appeared in many different media. He is the author of twelve books and he has had his own television programme. Andy has the ability to get up close and personal with both dangerous and shy animals. As a lecturer he is an excellent entertainer, telling great stories, often humorous and always accompanied by incredible images. Monday 20 to Friday 24 February Hunter Kennedy EFIAP MPAGB Hunter Kennedy has been a member of Carluke CC for over 30 years and has held several offices including President. He has taken his photography seriously since 2000 and by 2009 had achieved both EFIAP and MPAGB. He is a regular supporter of International Salons and is in demand in the UK as a lecturer and judge. Hunters main photographic interests are landscape and people, preferably candids. Friday 16 to Sunday 18 March Paul Foley FRPS EFIAP MPAGB Making a very welcome return to the Region with his latest work, Paul is a dedicated landscape photographer, constantly seeking to express the beauty and tranquillity of the natural world. He gained a Fellowship in both colour prints and colour slides and he is currently a member of the RPS Visual Art Panel. Paul is an active member of Arena and since taking early retirement he has organised a very successful series of landscape workshops in both UK and abroad. 4 Priscilla Thomas FRPS MPAGB Priscilla makes a very welcome return to the Region with her latest work. She may be small in stature but she is big in energy and imagination. Her Fellowship was achieved with a panel of prints in the genre of Abstract and this encouraged her to continue down this avenue of abstract and imaginative photography. Priscilla has published a fascinating book, with forward by Sir George Pollock FRPS, which chronicles the development [and details the method] of her work from Impressionism to Constructivism. She has lectured extensively on her work, exhibited at the RPS and taught workshops on exploring the photographic abstract. Priscilla is unique and her photography is original. Sunday 22 April We welcome the return of a tried and well tested team mainly from Scotland. Sandy Cleland Coming from Edinburgh, Sandy and is a frequent and very welcome visitor to the area. For several years he was Chairman of the L panel. His own expertise is nature photography and he has served on that panel at A and F level. He is now a member of the DAB [Distinctions Advisary Board] which is the ultimate eschalon. Rikki O Neill Rikki is from Dundee, an artist by profession and is also a popular and frequent visitor to the area. He, too, has experience of the L panel and now serves on the Visual Art A and F panel. Leo Palmer FRPS Our local expert, Leo lives in the region. He is presently Senior Chairman of the L panels and also serves on the Travel panel at A and F level.

Monday 3 to Thursday 6 September Des Clinton FRPS FIPS Coming from Drogheda in Eire, Des has been involved in photography at local, national and International level for more than 30 years.

His subjects range through horse fairs, which gained him a fellowship of the RPS, people in their environment, probably his favourite subject, to moody landscapes of his native Ireland.

5 NEwsletter 2012 ho 12 Karen Berry ARPS Karen comes from Edinburgh, a lawer by profession and Sandy s daughter. She is an experienced and valued member of the L panel. Her own photography is varied and wide ranging. Monday 3 to Thursday 6 September Des Clinton FRPS FIPS Coming from Drogheda in Eire, Des has been involved in photography at local, national and International level for more than 30 years. He is essentially a documentary photographer and has won many awards and distinctions for his individual images and panels of pictures. His subjects range through horse fairs, which gained him a fellowship of the RPS, people in their environment, probably his favourite subject, to moody landscapes of his native Ireland. Des is recognised as an expert darkroom printer and both his fellowships [RPS and Irish Federation] were achieved with monochrome panels. Today he works mainly in colour documenting Irish life and the countries he visits. Friday 5 October Steve Smith FRPS Steve will present his highly successful monochrome prints. A dark room worker since the late 70 s Steve has very successfully converted to DI. He achieved his Fellowship in 2009 with DI monochrome work and along with many other awards he has also picked up a silver medal in 2010 in the RPS International Print Exhibition. His interest is people and their environment. A night not to be missed. There will be a small charge of 2 at the door. Monday 8 to Friday 12 October Peter Patterson FRPS EFIAP MPAGB Peter lives in Scotland and has been taking photographs for 40 years. He began as a monochrome darkroom worker and over the years he has achieved the top distinctions from RPS, FIAP and PAGB. His main interests are Landscape, Still Life and Abstract both in monochrome and colour. His images are now all derived from digital files. Peter exhibits nationally and internationally and has had several images published. Friday 2 to Sunday 4 November Henrietta Byrne LRPS DPAGB A serious photographer for the last 15 years, Henrietta is a member of two Northern Counties clubs. She specialises in landscape, using slide film until 2009 when she progressed to digital. Henrietta is Chairman of the North Yorkshire and South Durham Photographic Association, a member of Northern Counties Executive and a lecturer and judge for NCPF. She has been a finalist in the BBC s Country file annual competition with her picture published in the calendar, has had an article published in Outdoor Photography and a book published on Richmondshire. Dianne Owen FRPS Photography began at an early age for Dianne, when an uncle showed her darkroom printing. Her decision to join Southport PS was an important step forward especially when a lecture from Rikki O Neill defined what she wanted to do with her photography. Creative work in the darkroom was time consuming, but the arrival of DI and Photoshop gave creative work for Dianne a new freedom and dimension. Her images are memories of a special personal moment which has mood and emotion and is sprinkled with a little magic for the viewer. Brian Beaney FRPS Brian has found that digital imaging has allowed him to use his graphic and art skills to take his photography beyond the moment of capture. His images are digitally painted with light, mood and atmosphere that he feels epitomize the peace and tranquillity of the scenes and landscapes and hopefully bring back some of the buzz he experienced when taking the shots. Most of his pictures have been taken around the Suffolk coast. Friday 9 November Duncan McEwan The Scottish landscape wizard will give a new presentation which is entirely digital. Duncan has been photographing the Scottish landscape for nearly 40 years and remains as enthusiastic as ever about the opportunities it offers. Having started travelling abroad in 2005, he is more convinced than ever that Scotland is second to none when it comes to landscape photography While landscape and natural history photography are often regarded as distinct disciplines, pursued by different photographers, Duncan perceives them as being very much interlinked, almost at opposite ends of a spectrum, with the landscape being as much a part of the natural world as the organisms that colonise it. One of his main fascinations is making images that link the two and he believes that the landscape photographer who does not carry a macro lens can be missing a great many opportunities. He promotes the beauty of the natural world through landscape and natural history photography, believing that to a wider appreciation of the natural world can highlight the importance of conservation issues. The search for new locations, or finding new angles on familiar ones, provides constant motivation. Strong compositions, mood and interesting lighting are always uppermost in his mind. 5

Pinpointing the WAy l Dr Jim Lycett LRPS goes in search of the natural camera One of my life s ambitions is to build a beautiful wellengineered camera, capable of capturing ethereal aspects of the

The pinhole camera records more than a snapshot or a decisive moment in time, but encapsulates the passage of time.

The majority of commercial pinhole cameras tend to be based on conventional focal lengths and related formats, thereby eliminating vignetting and giving a constrained angle of view.

6 Pinpointing the WAy l Dr Jim Lycett LRPS goes in search of the natural camera One of my life s ambitions is to build a beautiful wellengineered camera, capable of capturing ethereal aspects of the natural world. My quest, in search of this natural camera, made me consider the pinhole camera, one that would fully record the angle of vision of the human eye (approximately 140deg). The pinhole camera records more than a snapshot or a decisive moment in time, but encapsulates the passage of time. This is particularly seen in the movement of clouds, of water and of people, where motion is transformed to a single image. The majority of commercial pinhole cameras tend to be based on conventional focal lengths and related formats, thereby eliminating vignetting and giving a constrained angle of view. The question I asked myself was, why, should the camera be limited in such a way? Suddenly it all fell into place, I had discovered the basis for a natural camera, one that would communicate the moods and emotions of the natural world by recording what the eye sees. It almost goes without saying, Mother Nature was first on the scene. The sea mollusc nautilus has used the principle of the pinhole for millions of years, each eye having an aperture that allows fine directional and shape sensing. Joseph Petzval popularised the term natural camera for the pinhole camera in 1859 since the view it sees, like the nautilus, is natural! 120 years ago, George Davison caused a sensation in the Photographic Society of Great Britain Exhibition [1] of 1890 with his photograph The Onion Field (An Old Farmstead). Instead of a lens, Davison used a pinhole to the disapproval of many of his peers. This fuelled a division within the Society and led to the formation of The Linked Ring Brotherhood in The Linked Ring attempted to promote the status of photography as an art form, an art that was associated with the Secession Movement (Aesthetic Movement) and Pictorialism. To some pinhole photography is little more than a gimmick often trivialised by TV programmes, shoeboxes and sticky tape. There is, however, a serious side that rewards the photographer with beautiful images. Many photographers have attempted to use a pinhole camera and often found the results disappointing. I too had little success until I was drawn into examining the theoretical and behavioural aspects of the pinhole camera. Thus began a year-long investigation into the design of a camera that would produce unique images for the 21st century. It forced me to look at scenes and picture-taking techniques I had never before considered. One thing I discovered was that the pinhole camera will produce in-camera what many photographers attempt later by postprocessing or the use of Photoshop. The investigation led to a unique design of a simple robust and virtually i n d e s t r u c t i b l e camera capable of covering an angle of view of 140deg. A v i e w f i n d e r was considered u n n e c e s s a r y because the camera records what the eye sees. I constructed several natural cameras following a generic design with the internal cavity of the 6

A typical specification for the 5x4 natural camera is: focal distance (length) 25mm; pinhole diameter 0.18mm; f-stop 139; angle of view 140 degrees.

Using the natural camera gives immense pleasure and poses few problems provided a disciplined approach to image making is observed. The camera is intuitive and a joy to use.

elephants. I found it best to aim the camera at the centre of the subject, as images tend to have a bright central area, becoming darker and more distorted at the edges.

7 NEwsletter 2012 camera body machined from a single piece (monoblock) of hardwood, (mahogany, American walnut, etc). Provision was made for a Linhof style lens panel incorporating the pinhole and shutter assembly. Brass sliders and inlaid strips of hardwood formed the darkslide retaining mechanism. A typical specification for the 5x4 natural camera is: focal distance (length) 25mm; pinhole diameter 0.18mm; f-stop 139; angle of view 140 degrees. In addition I built several 10x8 natural cameras following similar design criteria, but with fabricated bodies for lightness. Using the natural camera gives immense pleasure and poses few problems provided a disciplined approach to image making is observed. The camera is intuitive and a joy to use. It is simply a matter of setting up the tripod (in the desired position, generally as high as possible and level), taking a light reading, opening the shutter and starting timing or counting elephants. I found it best to aim the camera at the centre of the subject, as images tend to have a bright central area, becoming darker and more distorted at the edges. The absence of a viewfinder allows intuitive framing and produces a high degree of serendipity in the resultant images. Exposures may be taken from a grey card or known reference and compensation for film reciprocity failure applied. I have used both film and printing paper for making negatives, and produced in-camera prints with the recently introduced Ilford Direct Positive Paper. Though film has the definite speed advantage over paper, some exposures may range from a few seconds to several hours depending on the light and sensitive material used. A kitchen timer is useful when making exposures as counting elephants becomes a little boring over long periods of time. Images produced by the natural camera are both ethereal and moody, with an overall softness and almost infinite depth of field. Motion is transformed to a static sequence emphasising the timeless nature of the image. Other noticeable effects include radiating light from the centre and gradual edge darkening thus providing partial subject isolation from peripheral clutter. Images produced lend themselves naturally to chiaroscuro and interpretive printing. Cameras with longer focal lengths and narrower angles of view exhibit less edge darkening effects and distortion and produce a less dynamic image. The ultra-wide view of the natural cameras, like the eyes of the nautilus, offer an alternative vision of the natural world around us. Note [1] Later to become the RPS. Report of the council for the year 1894 stated that Her Majesty, the Queen, has been pleased to command that the Society be called in future The Royal Photographic Society of Great Britain. Monoblock camera [above left] Natural Camera Images 25mm monoblock 5x4 camera, pinhole 0.18mm diam, f Sea Defence, Happisburgh [top left] 2. Dovecote, Gainford [opposite left] 3. Church of Saint Cuthbert, Darlington [opposite right] 4. Sea View, Redcar [above right] 125mm bellows camera, pinhole 0.4mm diam, f Back to the Future, Beamish Museum [top right] 6. Binham Priory, Norfolk [opposite top] 7

8 NORTHERN REGION PROGRAMME 2012 FRIDAY 6 JANUARY Safari with Andy Rouse Old Town Hall, West Street, Gateshead 7.30pm # Tickets 9.00 Students 4.50 from Jane Black or Brian Pearson [Please send a SAE] FRIDAY 5 OCTOBER Lecture by Steve Smith FRPS Eyewitness Washington CC 7.45pm One night only DI monochrome details later MONDAY 20 to FRIDAY 24 FEBRUARY Lecture tour by Hunter Kennedy EFIAP MPAGB My Style of Photography [prints] Monday 20 February Methodist Church Hall, Brompton, Northallerton 7.30pm# Tuesday 21 February Lockart Room, Moothall Market Place, Hexham 7.45pm Wednesday 22 February Mechanic s Institute, Percy Street, Alnwick 7.30pm # Thursday 23 February St Oswald s Institute, Church Street, Durham 7.30pm# Friday 24 February Whickham C Centre, Front Street, Whickham 7.30pm # FRIDAY 16 to SUNDAY 18 MARCH Spring Weekend Netherwood Hotel, Grange-over-Sands Lecturers: Priscilla Thomas FRPS; Paul Foley FRPS; Lee Kitchingman AFIAP Cost: 180 per person sharing 200 single. Price includes two nights dinner B&B and lecture programme. Deposit 40 per person The hotel offers a special price for dinner B&B of 65 per person for Thursday 15 and Sunday 19 March. Please book direct with the hotel Tel No SUNDAY 22 APRIL Distinctions Workshop Directors: Rikki O Neill FRPS; Sandy Cleland FRPS; Leo Palmer FRPS; Karen Berry ARPS Backworth Hall, Backworth, Nr Newcastle 10am-5.00pm Cost: Participants 15 Observers 10 Lunch Buffet 6 (Booking essential) MONDAY 3 SEPTEMBER to THURSDAY 6 SEPTEMBER Lecture tour by Des Clinton FRPS FIPF [Eire] Monday 3 September Methodist Church Hall, Brompton, Northallerton 7.30pm # Tuesday 4 September Duke of Wellington, Kenton Lane, Gosforth 7.30pm (Entrance and car park at back of building) Wednesday 5 September Quaker Meeting House, Meeting House Lane, Penrith 7.30pm# Thursday 6 September St Oswald s Institute, Church Street, Durham 7.30pm MONDAY 8 to FRIDAY 12 OCTOBER Lecture tour by Peter Patterson FRPS EFIAP MPAGB Photography My Way [prints] Monday 8 October Methodist Church Hall, Brompton, Northallerton 7.30pm# Tuesday 9 October Lockart Room, Moothall, Hexham 7.45pm Wednesday 10 October Club House, Ridley Terrace, Cambois 7.30pm# Thursday 11 October St Oswald s CC, Gladwin Road, Grindon, Sunderland 7.15pm # Friday 12 October Harraton CC, Bonemill Lane, Washington 7.45pm FRIDAY 2 to SUNDAY 4 NOVEMBER LAKE DISTRICT WEEKEND Glenridding Hotel, Ullswater Lecturers:- Henrietta Byrne LRPS DPAGB; Brian Beaney FRPS; Dianne Owen FRPS Cost to be announced FRIDAY 9 NOVEMBER Duncan McEwan Washington CC A digital presentation of his most recent work Details to be announced THURSDAY 29 NOVEMBER to THURSDAY 6 DECEMBER RPS International Exhibition of Projected Images Thursday 29 November St Oswald s CC, Gladwin Road, Grindon, Sunderland 7.15pm # Friday 30 November Harraton CC, Bonemill Lane, Washington 7.45pm # Monday 3 December Methodist Church Hall, Brompton, Northallerton 7.30pm # Wednesday 5 December Club House, Ridley Terrace, Cambois 7.30pm# Thursday 6 December St Oswalds Institute, Church Street, Durham 7.30pm # # denotes wheel chair access For further details see the Northern site at Regional Organiser: Jane H Black ARPS FPSA HonPAGB 9 Cardigan Grove, Tynemouth, North Shields, NE30 3HN Tel Treasurer: Brian Pearson ARPS AFIAP 2 Waterloo Place, North Shields. NE29 0NA Tel Committee: David & Hilary Shaw ARPS Tel Chris Rowley LRPS Tel Ron Henry ARPS Tel George Ledger DPAGB Tel Newsletter Design: Alec Ponton Web Master Dennis Atherton FRPS da@talktalk.net

Penrith and District Camera Club programme

Penrith and District Camera Club 2017-2018 programme Notes - Denotes a series of talks relating to a particular branch of photography, and presented by one or more of our Club members. Competitions - Club