Copy
News from the Whangarei Camera Club
View this email in your browser

Newsletter

  Welcome  
 
How spectacular was that blood moon and very disappointing for us in the north. A thick blanket of cloud killed any attempt at photos. It will be interesting to see the results in the Night Sky competition due in on Thursday.  Results for Portraiture and Glass will also be shown.
A warm welcome to new members and welcome back to existing members. If you are interested in joining, don't hesitate to come along and join the fun.
 
See you there at Classroom 1, St John Ambulance Station,
Thursday 3 June 2021 starting at 7.30pm
 
Congratulations to Noel Herman who had four of his images published in the NZ Photographer magazine. See Noel's pics on page 59.
https://nzphotographer.nz/nzp-read-online-free/
Due 3rd June
 
Night Sky
This can be the moon, stars, star trails, milky way, cityscapes with the night sky as part of the image.  Sunsets not accepted.
 
Open
Projected Images and/or Print


Due 1 July: Body Parts, Birds
 May Workshop: Double Exposure  
Our thanks to Pam for her demonstration how this can be achieved in post editing and also to Rose and Karen for providing in camera demos. There were a few who definitely benefited from it.
We are in need of more images for the Gisborne Exchange and Interclub competitions.
To upload your extra images go to 
the members’ menu, that is now showing as Extra Images for Double Exposure. It’s the second one in the menu. It’s also available on the bottom right of the Enter Competitions page. 

Term: Double Exposure
Description: A double exposure is a combination of two images into one where one image is overlaid onto another at less than full opacity. In digital photography, double exposures can be made in-camera in some cases when it's available as a creative effect in a body, in photoshop, or in apps designed specifically to make digital double exposures.

A couple of points to consider: The hardest part is choosing the two images. They should relate to one another so the final image makes sense.
Titles: Some judges exercise over this. Try to make your title fit with your image. You are trying to tell a story and the title should help tell the story AND (a biggie) help the judge "get it" as to what the story is you are trying to portray.

So have a go. Once you get the knack of it you will find it opens a whole world of possibilities.
 
June Workshop
17 June
Workshop will be about Body parts, not necessarily human. Think outside the square here. What other body parts are there?  Lets see what you can come up with.
Come along with your camera, and if you have a tripod, lighting and any spare body parts, please bring these as well.  
This is sure to be a fun, learning – and probably frustrating – evening.
With all the attention on the night sky at the moment, here is another photography technique for you to try. Star trails are formed by combining multiple images (at least 80) of the stars as the earth rotates. Find a south-facing spot to get the circular trails. You need a really dark night around the new moon and clear skies.
Anyone who is interested in trying this out is welcome to join in on an evening shoot in the near future at Donna Russell's place at Whatitiri. There are clear views to the Tangihua ranges and not much light pollution along Baker Road. 
You can walk through the bush behind our house as another option or stay near your car on Baker Road.
I'll put out a contact sheet for you to register your interest. It's likely to be with short notice governed by the weather conditions.
It'll be nippy too (us Northlanders have nothing to moan about really!) so you'll need to wrap up warm, bring a thermos, and you will definitely need a tripod and a remote release.

We will have a discussion about star trails and the software needed to create them at the next meeting.
 
To make better photographs, study more photographs

The Contact Sheet / May 09, 2021
Noel forwarded this thought-provoking article from the Contact Sheet, a photography blog and magazine. The article has been abridged. Go to http://www.contact-sheet.net/ to read the full article.
 
 
 So how do you study the photographs of another in order to improve your own craft and creative thinking?  The first step is to respond to the image itself. To listen to it. Feel it. Take it in without jumping to judgment.  If it was a poem you were studying (and there are many similarities), you'd probably re-read it a couple of times so the subtleties had a chance to emerge. This also seems a good approach with photographs.
You've got to experience the image before you can evaluate it.
Our first quick reading is often too "blunt" to be trusted. I see this from younger photographers who often quickly assert a desire for something to be removed because "it's distracting" when it is in fact that very thing that makes the image so powerful (if not also more complex). You can't know an element distracts if you don't take the time to really understand what the photograph is about and what the photographer might have been trying to say. 
Spend some time with the image. Be suspicious of your first reactions.
 Novice photographers who react to a photograph with "I would have done it differently" miss the chance to learn from this more useful question: "I wonder why that much more seasoned photographer made that particular choice?" It doesn't mean you have to do it that way, but if your way was already working so well, you wouldn't have something to learn. 
 I think it's important to engage with it more personally. Here are the questions that might make that engagement a little deeper and more helpful when you get to the more critical questions (to be discussed in the next issue of The Contact Sheet):
 What does this photograph make me feel or think?  What emotions does it stir for me?  You don't have to like it, but what does it make you feel? Where does your eye go? What does it remind you of? What memories does it conjure? What story does it tell, if any? After looking at it for a while, what do you think the photographer was trying to direct your attention to? Is it a single detail, a play of light, a moment, some relationship between elements? Assume for a moment that the photographer left everything in the frame for a reason—that nothing was a mistake. Based on that, what do you think the photographer was trying to accomplish? Does it do that for you?
 You might not know the answers. But you can speculate. You can guess. And if the answer to the first question about what kind of emotions are stirred by the image is "none," then before you move on too quickly to study an image that does stir you in some way, maybe ask, "Why not?" What's missing for you, and what might you be missing?
 "What am I missing?" is the kind of question the truly open-minded ask.
 I've often looked at a celebrated image that I know is meant to be a work of excellence and thought, "Huh. Really?" But it's in asking "What am I missing?" that nudges me to take a second or third look, to see the lick of light on the tombstones, and think, "Oh, I see what you did there
There are probably other reasons, too. Maybe I'm just not ready for it. Maybe, especially as a more novice photographer, I just need to understand my craft (and the history of my craft) a little more. Maybe there's a chance here to refine my tastes and expand my ideas about what makes a photograph "good" or "compelling" to me.
 
Before you move on to a more critical reading of an image, give it time to settle in with you. You've got to ask, "What did the photographer accomplish with this image?" before asking, "How did they do it?"
 There's so much to consider. So many things we can miss. And only once we can look at a photograph and identify how it makes us feel or think can we turn our minds to the questions of technique, composition, or other creative choices that cause us to think or feel those things. How was the photograph in front of us made so that it conjures those emotions and thoughts?
Slow down. Listen hard. Second-guess your first instincts and judgments. Let the first reading of the photograph be an experience of listening and feeling. Soon enough, you'll ask questions of the image and, in a way, of the photographer. But I find it helps to ask questions of myself first. <vision@craftandvision.com>
 
Visit Club Website
Facebook
Website
Share
Tweet
Forward
Copyright © 2021 Whangarei Camera Club, All rights reserved.