Apologies for late posting, certain technical problems rather got in the way.
Portishead Marina was our destination this week where the old Power Station has been demolished and developed into a series of housing developments around the old harbour. Portishead’s two other claims to fame are the band of the same name and the fact that the first Trans Atlantic wireless signal was received here and it became a famous name in maritime communication with the developments that followed it. No big beach to speak of, unlike last week at Weston Super Mare, nor any motorcycle show of any size, at least that I could see. Certainly there were more boats than to be found at Weston and more expensive ones at that. The weather was better too, in terms of the amount of sunshine, but that brings challenges of its own. A good walk around in good company and a discussion on depth of field, exposure locking and back button focusing. I will deal with back button focusing next week along with exposure locking, but this week it’s about what is in focus and why….
Depth of Field is often blithely referred to as if you can’t be a photographer without it (whereas you can’t be a photographer only without something to focus light and fix an image in reality). Certainly if you aim to take your photography more seriously and you are using something with variable aperture glass, then depth of field (DoF as we shall refer to it from here on) is something you need to be able to manipulate to enhance your images. In this way it is a third dimensional compositional aid (which is no mean thing in a two dimensional field). It is also one of the first skills that we master.
Your lens only really focuses on one point, think of it as the pin point in pin sharp and what we refer to as DoF is that part of the image we find to be “Acceptably sharp” i.e. it looks in focus. The brain acting on what the eyes transmit to it makes that decision with small variations from individual to individual but we can generally agree on what is and isn’t in “focus”. This is known as “The Circle of Confusion” (I trust you haven’t joined it yet) or more, accurately the “Acceptable Circle of Confusion”, that part of the image that our brains process as being the same or indistinguishable from the actual point that the lens focused on. When we talk about an image being soft we are talking about the margins of what we perceive as being acceptably sharp which is at or beyond the limits of the circle of confusion, but transitions are gradual and there is no defined point at which sharp becomes unsharp and vice versa. DoF is what we see in an image from the closest to the furthest point we see as being sharp (within the acceptable circle of confusion).
Using a lens with a variable aperture we can vary the circle of confusion. Aperture is the size of the hole that we squeeze the light through in our lenses on its way to the sensor. It acts as a regulator on how much light gets through. What fraction of the available light gets through we measure in F-Stops. F stands for focal and it’s the amount of light that is getting stopped. Hence F-Stop. This also determines how much in front and behind the focus point is acceptably sharp. The F-Stop tells you exactly how big the hole is that is letting the light through. It is calculated by dividing the lens focal length by the apertures diameter. So a 50mm lens at F8 gives you an aperture diameter of 6.25mm. A 135mm lens at F8 yields an aperture of 16.88mm. Of most interest to lens manufacturers, but it does stand for something important that we otherwise take for granted. And also it relates to that question that is forming in the back of your mind.
But why isn’t DoF the same on all lenses? Good question and it’s down to the DoF and its relation to the DoF. What? There are two? Oh yes indeed, the Depth of Field is directly linked to the Depth of Focus of a lens. As photographers we are interested in Depth of Field, but it would not be possible without lens designers understanding Depth of Focus (and that’s not helped by the fact that a lot of people think they are the same thing). Depth of Focus is easiest thought of as the point at which the lens you have on the camera places the focal point. Remember that a lens actually only focuses one precise distance (point), that pin point in pin sharp, and what we accept as being in focus is down to the Circle of Confusion. The smaller the pin point in relation to the circle of confusion the deeper the depth of field. The larger the shallower. That’s why your small sensor compact camera has a deeper depth of field at any given aperture than your APS-C sensor DSLR, which is deeper than your 35mm “Full Frame” sensor and why you will see F128 on a 10 x 8 inch plate camera lens but not on any of the others in this list. Aperture also controls the circle of confusion.
On the top of most (all?) DSLT/DSLR camera bodies somewhere is etched a circle with a line through it. This isn’t for decoration it tells you whereabouts in relation to the rest of the camera body the sensor plane, aka film plane is. The sensor to the end of the body, the bit where you attach your lens most importantly, is a fixed distance. This allows you to attach different lenses of different focal lengths to the same camera body and the focusing ring/auto focus mechanism moves that fixed point backwards and forwards. When we see an object in focus it means that the three things that determine what is in focus, are all aligned, (aperture focal length and the distance to the object) in relation to the fixed point that is the sensor plane and accommodated by the acceptable circle of confusion. When the pin point in pin sharp is in front of or behind the sensor and beyond the circle of confusion your object appears out of focus.
So much, so theoretical. How can we turn this into something practical? Well with something that sounds as if you need tablets for, hyper focal distance. Hyper Focal Distance is much loved by landscapers, but that isn’t the only time you can use it. Essentially it is based on the mathematics of the sensor size, depth of focus and depth of field and is the closest distance a lens can be focused that yields sharpness at infinity at a given aperture. Now infinity is a theoretical concept which, in practice, means the horizon, or the furthest point in the frame from the camera. You can use your lens’s distance scale – if it has one, if it doesn’t you can’t – and on longer lenses this is probably the best option. On the shorter ones, especially wide angle lenses, a tape measure, or I use the length of my pace (2 steps is 5 feet but only 10 toes) as the Hyper Focal Distance is shorter with wide angle lenses. A lazer measure might be a reasonable investment if you do a lot of this.
My 8mm I just set at 2 feet and snap away. Everything is in focus from 50cm (19.5 inches) to infinity at f4 when the lens is focused at 3 feet (actually 38.5 inches, or 0.98 m). Do a lot of it then a laser range finder might well be a good investment. The 50mm lens, or a zoom set at 50mm, has a hyper focal distance of 39m (19m to infinity) at f4, A 135mm, set at f4 has a hyper focal distance of 278m (139m and beyond).
But how do we know what distance is hyper focal? Well we need to know the sensor size, focal length and aperture. If you have a smart phone, then you can get a hyper focal distance calculator with something like Photo Tools (Android and I-Phone, free), or you can memorise the relevant distance from tables suitable for your lenses (and crop factor) – it helps that there is a linear relationship between distance and aperture, so whatever the hyperfocal distance at an aperture of f2.8 it will be half that at f5.6 a quarter at f11. As long as you know what the distance is with your lens wide open you can work it out for other apertures. As lenses tend to be at their crispest all round between f8 and f11 that is probably a good place to commit to memory for the times when you don’t have the tables to hand.
It is surprising just how useful hyper focal distance can be. Try it this Thursday when we shall be meeting outside the main doors of Bath Abbey at 19:00 (7pm).
Off to Weston we went, aka “Super-Mud”, last meeting and though the skies were lowering the turnout was pretty good and a good time was had by everyone I talked to. What more can you ask for? Well it was Weston Bike Night, organised by the Royal British Legion Riders Branch, and runs every Thursday from May to September. So I hopped on my motorbike and made my quid (£1) donation to the RBL to park on the Marine Parade Lawn and wandered round with my camera, before meeting up with the rest of the club on the beach by the Grand Pier. They had, it turned out, been taking pictures of a convict making his way up the beach, with the express purpose of compositing them into a single photo in post production (Photoshop, Gimp). If you look back through this year’s competition galleries you will get the idea of who and what sort of thing. The sun also made a show right at the end of the day and we were presented with a salmon pink sunset against the grey of the clouds as a finale. Not too shabby.
It is often said, not least by me, that in photography, painting with light, the light is everything. So far so obvious. What we are really saying is that the contrast in any given light situation is everything, as the same subject in different lighting gets a different reaction from its viewer. We are not just talking of low light here, where we have options within the exposure triangle, and in the way the camera works in other ways, but, when the weather is as it was on Weston’s beach and the contrast is low, the temptation is to save it for another day, but we can be missing opportunities. Contrast is what determines how “flat” the light in your image looks. Possibly, most logically, we can see this in monochrome images, but it most definitely applies to colour ones too.
Essentially, contrast comes in two flavours. Thinking of the black and white image and we can imagine the more obvious of these expressed as a tonal range, which we have touched on before. The tonal range is that between (theoretical) absolute black to (theoretical) absolute white which we would affect in post production editing programmes through levels and curves. The second flavour is colour contrast which is about the predominance of a colour in relation to the colours around it.
When we are producing black and white photographs we are really talking producing images constructed of the shades of grey (no tittering at the back). Soft images record little range in those shades, it is all middle and very little of the absolute ends, whereas hard looks stark because we have a band of hard blacks and a band of hard whites and very little in the middle. This is not the same as low key (mostly darker shades of grey surrounded by blacks) and high key images (mostly lighter shades of grey surrounded by whites). The emotional tone that low key images give out tends towards the sombre whereas high keys have a lighter mood, but tonal contrast isn’t just limited to black and white.
Colour, as we have explored before, tends to overwhelm tone when provoking emotion in a viewer, but good tone is a major element in the construction of a colour image too. Because there is more variation in colour, more information to play with, then the possible outcomes are multiplied accordingly. Broadly the more saturated a colour is in relation to the others in the image and relative to its position on the colour wheel. The degree of saturation is also important to colour contrast and that can be affected by exposure (try bracketing a couple of shots by two thirds of a shot and look at them in comparison, warmth, feel/mood can be subtly or not so subtly effected.
Meanwhile, back on the beach at Super-Mud, we are faced with some impressive cloudscapes that are throttling the contrast out of our seascapes, aided and abetted by a distant haze shrouding the South Wales coast. Looking on the (not too) bright side we are not trying to photograph either a black cat in a coal hole or a polar bear in the Arctic). Those both represent zero contrast situations. Give up go home, assuming you survive contact with said cat and/or polar bear. As we are in neither we can do something about our rather dull scene (other than retreat to the pub). All the rules of composition still apply but we are not bereft of options. The exposure triangle was mentioned above and in pushing two of the elements in that, aperture and shutter speed, we could just make a keeper.
Exposure Value Compensation it’s called and it’s that button that allows you to adjust the average that your meter is measuring up or down, usually by up to two or three stops, depending upon what camera you are using. It does not matter whether you are in Shutter or Aperture Priority or shooting in manual (though this is a bit of overkill bearing in mind you already have control of aperture, shutter and ISO in manual mode, but it is possible to employ as another way of under or over exposing from the average). First meter as normal then apply +0.3 ev on the scale. Try again up to a stop, or in the extreme, up to 2 stops or more, basically adding dark. In manual you will possibly be moving in half stop intervals depending on the age of the lens, but most modern ones seem to move in thirds. The same basics apply. Shoot in RAW for the best post production options. What you will do here is affect the colour contrast. Yes the whole image will look progressively darker, but that is not necessarily a bad thing. On the Mini group trip to Weston, where there was a vivid orange sunset, this actually strengthened the composition by allowing the sky and certain reflections to be the focal points against an increasing rich, dark background. Essentially for this technique you are looking to set the narrowest practicable aperture matched with the highest shutter speed you can get a workable image in the light conditions.
Try it next week when we visit Portishead Marina. Dock Gates, 7 pm. See you there.
Last meeting and we were on an away day in Queens Square where we were joined by the Filton Orphans Scooter Club for a 1970s themed photoshoot. Huge club thanks to Myk Garton for organising this, it was a good evening enjoyed by everyone I talked to and an equally big thank you to the Filton Orphans for providing some magnificent props. Megan Gearing, Kelly Wolf Rogers and Paul Walker were our models.
Given the colour of the buildings and the fact that we were shooting into that period of the evening when the light turns more blue, I decided to shoot with the white balance set to shade. This warms the general look of the image (more than cloudy, see below) and I think worked well. I remember having a conversation with a photographer a couple of years ago, before I got into digital myself, and he reckoned that shooting with the white balance set to cloudy was the best setting for his photography. Basically he had his camera permanently set on that because he likes/liked the effect. He is not alone in this. Maybe a little extreme for my taste, all the time, but I can certainly see that there are occasions when it makes a strong case. There is an important thing to take into consideration here, because what we are talking about is the final look of the image and the idea that there is a correct aesthetic for the colour rendition of subjects within an image, when there is in fact only a set of choices. Accurate is quite often a word that is thrown around when talking about rendering an image as an exact a record of an object in the real world. In the camera it becomes a series of electronic artifacts, that represent an object or set of objects in the real world. That is to say there is a certain amount of interpretation involved.
With the permanent cloud conversation in mind, I thought that I would use this week’s blog to look at that setting probably most ignored by most photographers because the camera does it for them, in a manner generally acceptable. Ladies and gentlemen I give you the White Balance.
Let me set down at the outset that if you are uncertain about what you are doing auto will work in most situations. Sort of. It has got better over the years, that is for sure. Certainly it will work well in sunlight. If you look at the settings on your camera, even most compacts these days, you will find a range of settings other than auto white balance. The settings themselves we will return to later. The reason that these exist is because light changes colour over the course of the day and we talk about it in terms of its temperature, which is measured in degrees Kelvin. The colour of this light will affect the colours in your photographs because what we see are objects reflecting the available light into our eyes which are converted into images in our brains. Cloud cover also plays a role in determining the colour of light at any given moment, lending the light a blue hue. This is before it starts to bounce off objects absorbing different wavelengths. But our brains colour correct and so we see not the colour modified hues and shades but the brain’s algorithms for determining what it should look like. Your camera sensor records according to the temperature of the light it receives reflected from the object(s) you are framing. Please note it is where the objects are and the light it/they is/are in that is important not the light where you are (unless it is the same when it obviously doesn’t matter).
Well, again, sort of. White is 18% gray in photography, you may have heard. This is to do with colour neutrality. Some people never leave home without a gray card, certainly they have their uses, but they are not a deal breaker when it comes to taking photographs. You can colour correct in post production (yes even with jpeg but only to a relatively small degree and not in the same way as in raw, as the assumption of what the white balance is is coded into the jpeg file when you press the shutter. With raw its more WYSIWYG – what you see is what you get – and can be manipulated over a wider range of possibilities because all the information is left in).
So there are reasons of colour temperature for the settings in the white balance menus on your cameras. AWB – automatic white balance – is a fire and forget mode, just not always accurate. We then move into general categories. Daylight calibrated from the noon day sun, is fairly neutral and the target which the other settings are designed to immitate. Flash is cooler than daylight on tone (has a higher Kelvin temperature). Shade compensates for the blue by warming up the colours (counter-intuitively lowering the colour temperature) so does cloudy, but to a greater extent. The picture of the light bulb denotes a tungsten colour temperature. Almost orange if uncorrected, with a dollop, to use the scientific phrase, of blue. The picture of the flourescent tube tells you that the sensor is going to have the warm tones boosted to overcome that rather cold, sterile light. Then we get into the custom settings which can be used in conjunction with colour temperature meters and those grey cards we mentioned earlier. They do take getting used to to use properly. If you are interested in getting a light meter and or colour temperature meter and have a smart phone they can easily and freely be downloaded from the Android or Apple stores. They seem to work pretty well (I have Colour Temp meter and it falls into the category of useable. Grass is generally around the 18% grey mark and makes a good substitute as does the palm of your hand which will read about 2/3 rds of stop under exposed as a general rule).
As I started out saying at the top of this piece, you can play around and adopt he settings at will. Cloudy and shade have been the two I have used most often (which I would quantify as not very often) to warm up, and it works well with Cotswold stone backgrounds. I have also tried the bluer settings against a sky of pretty uniform grey cloud. It didn’t work out well but there is a germ of an idea there. Whatever you use you will almost certainly have to change the settings when you get the camera out afresh, or you will, with equal amounts of certainty, have some unplanned colour balances when you download to your computer. This is where CSC’s win out. They are WSIWYG – though it doesn’t work if you ignore the evidence of your eyes. A friend told me that, you understand. Wouldn’t do it myself. Of course not. No.
For all of that there is, you will be happy to know, one more universal setting that eliminates all this faffing around. It’s called black and white.
A N N O U N C E M E N T S
NEXT MEETING: Round 4 of the ROC.
Check out the Flickr competiton on the club Flickr page. To be found on the discussion page.
Five images by five club photographers on a connected theme. That’s the general outline for the Kingswood Salver. As a brief it’s pretty wide and that makes it a challenging in more ways than one. Last Thursday marked the start of the 2015 Reflex Kingswood Salver campaign with an evening organised by Roger and Eddie around the theme of collectables. Sunday there was a club shoot at the Blaise Castle estate involving Red Riding Hood, a Huntress (Kelly Wolf Rogers), a Clown, a Knight (Paul Walker), a modern girl (Snehal “Tia” Panchbhai), a Pre-Raphelite (Rachel Pratt) , a Goth (Megan Gearing), two dozen club photographers, one drone, several dogs, random small children and assorted owners of the above wandering in and out of shot as happens in any public space. A busy week and a very enjoyable one, thank you to Myk, Steve D, Eddie and Roger for their sterling efforts in organising these two events.
A busy club night saw musical instruments, dolls, insects, back-lit fruit (you had to be there, and thanks Kevin), buttons, figurines (mainly of the Dr Who variety) and “Stuff” brought along by club members and photographed. Two things struck me, not unrelated. We had a limited time on the evening, but the primary focus of the event was to get people started and thinking along the lines of the competition rules, so both space and time were at a premium (though I have to say the hall we hire is a very good space for our purposes) and my first thought was that we would not have been able to do as much had we been shooting film. We would have needed more lights – you only get one go at the ISO and that is largely pre determined – we would have had far more white balance problems, we would be up to our ears in filters (80A 80B and 80C filters to cool the light and 81A 81B 81C to warm it up for the uninitiated, where A is the lightest and B the darkest filter in the range and for the nostalgic, scientifically minded or otherwise curious link here for the joys and wonders of JIS B 7125). For all the discussions on the merits of film v digital, digital is far, far simpler (mostly a-good-thing sometimes a not-so-good-thing), more flexible and one hell of a lot cheaper. In this case it enabled more people to take more photographs in a given space and time. The club Facebook and Fun Shoots pages had more than a few contributions because of it. A good start was made.
There was a mixture of table top and backdrop photography going on. The lighting question was partially resolved by the club lights, Gerry’s increasing collection of luminous paraphernalia the odd flash gun, reflector and of, course, the built in flash. You don’t need a huge variety of lighting equipment. Those advantages of using digital I spoke of above mean that you can use a variety of light sources. DIY lighting is a viable option for the amateur (and the odd professional I suspect) and LED lighting in particular is getting cheaper and more adaptable. For table top in particular, where you can make your own light tent/box for next to nothing either as a one off or something a little more permanent (beards and cardigans are optional). The other thing you need is a little information on light modifiers and you can easily practice this at home. Using a full backdrop? Then you can make your own softbox for probably even less. This was a well chosen warm up.
Sunday was forecast rain from lunch time, turning to heavy rain till mid afternoon. Yes we got rain, but not until the end of the shoot and there was plenty for everybody. A range of models, good and varied light for the most part and an all round positive attitude from everybody made it both fun and instructive. As usual there were plenty of people on hand to help out with technical queries and the models all gave it their best which made for variety. It is also a good opportunity to try out something new. I found that I could have a use for the 10fps motor drive and experimented with a combination of RAW and the fully programmed setting on the dial. Never used P before (only had the camera for 20 months or so – it has that many settings!), not in too much of hurry to use it again, but it gave me an idea of how it works in a variety of situations and can see when it might be useful. Still haven’t used the 3D setting – maybe next time. These outings are both social and educational. The Blaise Castle Estate (which got an early celebrity endorsement from Jane Austen) has more locations than we used for the day and is a fine public space. The history of it is well worth reading. We used the woodland in the morning and the “Castle” (built as a residence rather than a folly apparently) as a backdrop in the afternoon and the caves on our way out. The terrace of the main house, and the Dairy House were among the locations we didn’t use. It is a fine resource that was very nearly lost.
Next meeting ….
Speaker – Justin Quinnell – “Aristotle’s Hole” ….. Be there or be square. Though to be fair there is no evidence that the hole was square …… Cue Bernard Cribbins, better yet see link below or checkout the events calendar on the club website See link below or checkout the events calendar on the club website or check out Justin’s website.
And the link is: RCC_notice_5 March 2015
A N N O U N C E M E N T S
ROUND 3 Reflex Open Competition Deadline is 5th March. See the above link or the rules on the website for the size and submission requirements.
Apologies for the late post this week, some technical issues with my laptop.
Today’s post and pictures are brought to you from Purton Hulks by club member Myk Garton.
A trip to Purton Hulks on the River Severn as 12 club members braved the heavy rainstorms that were falling over Bristol and made the short journey up the M5 and A38 to the Purton Hulks boat graveyard on the bank of the River Severn. By the time we arrived, the rain had cleared and we were treated to a lovely sunset at the car park whilst waiting for others to arrive, although it didn’t last for very long.
With the light fading rapidly we made our way along the canal tow-path to the boat graveyard. Some members had beaten us there and were already taking photographs. Most of the group walked along to the wooden hulks further along and began shooting various bits of the old wrecks.
As darkness descended, it was time to get the lights out and practice some light painting techniques. I think everyone managed to get a few decent shots.
All images courtesy Myk Garton © 2014
The Summer trips are now complete and we now get to move into our new venue. It will be good to see and hear what everyone has been up to over the summer break
Talking of the new venue. If you haven’t heard we are moving to the newSt. Annes Junior School
BS4 4HUon the 4th of September. Read on for what Dan Ellis wants your help with at that meeting!
NEXT WEEK (4th September)
Because of the late confirmation we’ve sadly had to postpone Bob Martin’s visit until the New Year. Instead we’re going to be doing a variation on the 10×10 nights the club often runs.
This week’s 2x5x10 nights will hopefully help you think about where you are now, photographically, and what you’d like to get out of the coming year. We ask members to bring in five images from both categories.
“Destination” images that you bring in could be of a subject matter that attracts you (perhaps you want to improve your portraiture or macro photography), they could be representative of a photographer you particularly admire (a club member, someone from Flickr, or a “famous” photographer) and would like to learn their style. Perhaps you’ve come across a particular technique you’d like to start using (you might really want to get to grips with depth of field, or learn how to do good HDR), or maybe you want to start selling your images or getting them published. How would you like your photography to improve in the coming year?
Images of your own that you bring in could be some of your best, ones that you think represent your “average” or typical output, or they could be ones that are your current attempts in the direction you want to go (if you want to improve your portraiture bring in a recent portrait you’ve taken).
We ask that you submit images in the usual way via Dropbox but it might be worth bringing them in on a memory stick just for this meeting as the clubs Dropbox folder on the laptop may not be able to be updated before this particular meeting.
Greetings one and all, it has come to the time that I, Megan, shall take over the sacred duty known as the blogging! Hello! If you would like anything added to the next blog post, then feel free to reach me on any of the mediums listed below:
- Email: firstname.lastname@example.org
- Send a message on Facebook
- Text me, provided you have my number (just ask me for it if you would like it)
- Or of course, find me at a club meeting. If you are unsure as to which one I am, here is a little reminder! Although, I am terrible with names sometimes so you may need to remind me of your name!
Now that is out-of-the-way, let’s get on with what you’re really here for!
This week’s antics have brought us to the MShed, a place where you can learn of Bristol’s history, or look at the pretty boats, trains and ships, or both, which ever takes your fancy. We met up at 19:30, though others were there from an earlier time. Some chose to photograph the local scenery, the boats and ships, the train carriages, the cranes and bollards on the harbourside, others chose to photograph the brightly coloured locals for their style, and a few chose to take to the skies, photographing the peculiar shaped balloons, such as the daisy (an american visitor), the flagon, and the Smurf, as they headed towards Bath, being Bristol Balloon Fiesta Weekend. The more adventurous brave souls marched on deeper into town, and were never to be seen again, well, that night anyway.
Hard at work, taking photos
Next week(14th August), instead of having another group outing, we shall be running 6 mini groups. However, Myk has decided to cancel his group due to lack of interest, but John has stepped in to run a group in his place. If you would like to join a group, please email Ruth on the clubs email address ( email@example.com ) to sign up to a group, you will have to be quick as some are limited!
- Group 1 Shall be run by Ruth Doyle – Bitton Railway, meet by the barrier to the car park for 19:30. https://goo.gl/maps/LuQ1s
- Group 2 shall be run by Daniel Ellis – Retracing the route of Bristol medieval city wall, Meet at the Slug and Lettuce on St. Nicholas’ Street for 19:30. https://goo.gl/maps/ZUXme
- Group 3 shall be run by Steve Hallam – Meet at the Bag o’ Nails pub at the bottom of Jacobs Wells Road for 19:30. https://goo.gl/maps/fR0Yi
- Group 4 shall be run by Mark Stone – Wells, Meet outside the cathedral for 1930. https://goo.gl/maps/LcHiz
- Group 5 shall be run by Hanneke ter Veen – Playing with water at her home, however this one is limited and 1 space remains for this group.
- Group 6 shall be run by John Pike – Meet outside Temple Meads Station for 19:30.
The pictures that you all take in these groups will then be presented at a later date!
Until next time, peace out
Images courtesy of Ian Gearing
On Tuesday the 10th December we are off to visit Bleadon Camera Club to take part in a Club Battle against Bleadon, Clevedon and Backwell Camera Clubs! A club battle is quite simple really instead of hitting each other over the heads with tripods we get an impartial judge in to look at images and they choose the winners. At the end the club with the most points wins. Of course the judge has to make a speedy exit out the back door to their getaway car to avoid the losing clubs. But most of them seem to be able to manage the quick sprint out to the car park pretty well and I’ve not heard of one getting caught yet!
There are 3 categories for this battle and they are, Colour Prints, Monochrome Prints and Digital Projected Images. All in all it should be a great night and I’m h0ping to post some pictures from the night on this blog soon after the event.