Mark Simmons was our speaker last meeting, a Bristol based photographer since 1985 Mark took us through some of the opportunities and causes he has been involved in over the last 30 years. He mainly concentrated on black and white work, though showed us some colour work of his too and posed some open ended questions, namely What makes a good photograph? and What comes next?
If I were to sum up Mark’s choices in photography in one word it would be “Eclectic“. Personal, political, spiritual, progressive, street, arts. He represents his world through the medium of the lens and monetarises it. It’s the way he makes his living. He talked about film and digital and whereas he is quite nostalgic for the former he works in the latter, though not exclusively. Black and white was really the choice when he started. Developing colour films has always been more involved, costly and time consuming than black and white and though perfectly feasible these factors meant that black and white was the only choice for those starting out developing their own images and those on a tight budget.
Now it is a no cost extra, ignored by many amateurs and often regarded as niche or specialist, with its own publications such as Adore Noire and even its own dedicated Leica camera line, the Monochrom Typ 246 range finder with a 50mm f1.2. Less complex in the sensor design it gives sharper results and less problems with artefacts (apparently). What is more one pixel on its monochrome sensor is doing the job of four (two greens one red one blue) on a colour sensor, so detail is more effectively rendered. It’s a snip at £4,500, but hey, it’s a Leica and you get a free Lightroom license with it. Whether this constitutes a bargain is contestable and it does rather reinforce the exclusive, arty view of black and white, even if it delivers a claimed 100% more detail than a colour sensor. This is a shame as black and white has its own aesthetics, its own strengths and it does get overlooked. For many of us I suspect it goes something like this….
“That would look better in black and white”. We’ve all said it. We’ve all done it. Sometimes we were right. Sometimes it was the fundamental composition that was wrong. Nothing to be done with that, apart from applying the delete button. If the fundamentals don’t work, no matter how much we wish them to, it’s a loss. I am not advocating not learning from our losses, that would be a chronic waste of time, but we don’t learn much from failing to rescue the not worth preserving to the status of still-should-have-pressed-the-delete-key-and-saved-x-hours, or, more succinctly, reviving the dead to the status of the un-dead. What that constitutes in reality is a matter of personal taste and judgement.
“That would look better in black and white”, or, if we are in posh company, or trying to sound like we know what we are talking about, monochrome,we have probably already taken the picture before the thought strikes. There is a solution, which I will come back to later, which at first is obvious, but which can make the most of both worlds and can make us look at things anew. First, however, it’s time to visit some things we already know, or at least know about. Is there a difference? I would say emphatically yes and the difference is knowing about something is being able to theorise that in these set of circumstances this will happen and owning that knowledge by using it with purpose and confidence. Learning is about the transition between one and the other and it’s not always obvious when we arrive at the latter.
Black and white is different from colour in the obvious and not so obvious. The obvious of course is the reduction in the colours we are presented with. More properly we are talking about the difference between grey scale and the gamut of colour our monitors generate – most likely sRGB. The black and the white represents extremes between which we have the grey scale. Absolute black and absolute white are theoretical points, but the question of how black is black and white is white need not concern us here. Our brains interpret these things and we get on with life. We are told that black and white makes us concentrate on subject, form, shape, tonality and texture. This is, of course, because colour has a range of psychological effects on the human brain. Physiologically we use the cones in the eye to see colours and rods black and white. Rods and cones are photoreceptors, like the pixels on a camera sensor, and take their names from their distinctive shapes. The rods and cones generate signals which the brain transforms into images to which it attaches meaning. The primary colours, in particular exercise a strong emotional effect on us, more so than the secondary colours.
Deprive the brain of these clues and it continues to search for meaning in patterns, which promotes the importance of subject through form, shape tonality and texture. We still connect but in a different way. If we are lucky the elements of form, shape, tonality and texture have already made their link if only subconsciously. Then, we might safely arrive sooner at the delayed conclusion “That would look better in black and white”.
Better yet is to start from the position of black and white, the technique I was referring to earlier, that is to say the camera is set to black and white deliberately at the point of capture. This is where a CSC really comes into its own with a WYSIWYG (What You See Is What You Get) viewfinder/screen as some, if not many DSLR’s render as black and white only after the event as an editing choice (in which case save it until you get home and do it on the computer). If shooting RAW and Jpeg with the JPEG set to black and white as default we don’t, on a CSC at least, loose the colour option as RAW files are rendered in colour by default. What we can learn is to see those forms, shapes tonalities and textures as a critical starting point not a lifeline to the already drowned.
A N N O U N C E M E N T S
Something worth your consideration if you ever want to take a picture in the street again is something called the Freedom of Panorama and it is under threat (sort of). You might also want to sign the petition at the bottom of the article .Freedom of Panorama. In the interests of balance I would also say is that this is at the consultation stage, hasn’t been presented to the European Parliament for any legislative action (yet) but it still needs consideration and this is your chance to make opposition felt before it has the chance to gain any momentum. I would also point out that Mr Wales has a vested interest in such a possibility being put in place and this is an opinion piece in the Guardian, not a piece of investigative journalism. So for a bit of balance I would also read this from Full Facts (and still sign it).
N E X T M E E T I N G – Important information.
Our season at the school has drawn to a close. Please check the events clandar on the club website for details of meetings over the summer.
HDR Imaging. What does it mean to you? Horrible Disastrous Rubbish? Highly Desirable Representation? Something in between? Our much welcome and returning speaker, David Southwell ARPS would admit that there is a lot of the former around but if done properly, High Dynamic Range images are an important tool in the photographers tool box. Most of his ARPS panel consisted of them taken in the demanding situation of the interior of Bristol Cathedral. Thoughts were certainly provoked and the discussion afterwards was more animated than usual which would suggest that this is a bit of a Marmite question, “Love, it hate it, you can’t ignore it” as per the advertising slogan. We will return to this later, for Marmite questions have a hidden truth within them.
David did an excellent job of explaining the technical origins of HDR, essentially boosting the fixed capabilities of digital images to catch a range of 6 – 6.5 EV at best (depends on the sensor construction and other factors), or about one half that of the human eye (10-14). Using software and exposures of the same scene metered between exposure for shadow detail to exposure for highlight detail and the range in between (see here for a much more detailed explanation and on how to go about creating a more natural version of the effect) a single image is produced capturing the entire range of luminosity values in the scene. There is a more technical and vastly more expensive way to create HDR using oversampled binary image sensors. Here is what Wikipedia has to say about that and for the rest of us, rest assured they will be coming to high end mobile phones in the near future.
Some DSLR’s, CSC’s, Mobile Phones have an HDR facility built in, but this will almost certainly work with JPEG’s which have a more limited dynamic range than versions of RAW or Tiff. Handled carefully they can be effective, but as always there is the question of how much control is needed, required or is desired by the photographer. The camera processor and choice of jpeg format mean that certain assumptions have been made at the coding stage you do not have an input to. David left us in no doubt that, whereas process can be automated, shoot in RAW (preferably 16 bit, but 8 bit has got him some spectacular results). Your standard 8 bit image (as used in JEPGs and a lot of cameras shooting RAW) gives you 16.8 million colours (more than you can see) and 16 bit 281 trillion (far, far, far more than you can see). 16 bit gives you far more subtlety to play with, whereas 8 bit tends towards grouping colours into bands rather than representing them as subtle variations of colours. In a not particularly accurate but certainly useful way of looking at it we can say the difference is in the ability to reproduce shades, though the human optical processing system does vary from individual to individual. David asserts that 16 bit is the future and for those interested in HDR and, eventually, all photography, so now is a good time to start working in it as far as you can.
But why bother if all we want is the picture that represents a decent looking image of the widest possible range? Well now this is the tricky bit and where its detractors get dismissive of the technique. Before we touch on that, and we can only really touch on it here for reasons of time, space and the need to preserve a semblance of sanity, we need to deal with that problematic idea that you can only make art through fine motor skills. We have treated with this before (27/11/14) so I am not going to go into it again, but part of the attraction of HDR is to make the photograph look more like a painting. OK this is a gross simplification, a minority point in a minority interest, but that does not undermine its validity. Photography’s inferiority complex has existed since print 1 frame 1 in the history of photography. Both are trying to make that emotional connection with the viewer. If that is absent it doesn’t matter how good the draughtsmanship, the image does not work.
David made the point that it is, despite his determined advocacy of the technique, only ONE tool in the box, a very important point. We all have our favourite tools. He gave an estimate of about 3% of his own photography – and this coming from a man who needs 16 TB storage space in his computer system and a high end spec to match in terms of graphics and processors, memory and monitors. To give you an idea, that’s about 640,000 25mb raw images, if my maths is right, so 20,000 ish frames to make up his HDR section when full – with David spending up to 8 hours getting it right on each one! Slightly more involved than Justin Quinnell’s equipment needs, for sure, but they are two ways of making an artefact, two different ways of making a connection. The other 97% isn’t and that is the point. There is no technique that suits all horses on all courses but the more techniques a photographer can master the more complete that photographer will be. Not in pseudo competition with fine art, but in terms of their own personal development and capabilities. HDR has a role to play in getting emotion into an image, certainly it gets a reaction like no other photographic technique I have come across. That’s the art of photography.
OK let’s not tot up the cost of the sort of system David is talking about, he is a very experienced photographer with deep roots in computing. Looked at that from that perspective it just puts the technique out of the range of most of our pockets in the club. HDR can be done on a laptop using programmes that aren’t Photoshop. David reckons that layers and blending, cloning and careful metering are the basics and they can be practiced in any number of ways. Indeed Photoshop isn’t fully 16 bit yet and the vast majority of monitors out there cannot handle 16 bit data and the ones that do will cost you about the equivalent of the average UK wage. Start in 8 bit and make your way up. Practice, practice, practice the basics. Be critical, seek criticism, put the feedback into your practice. The same points were made by the last speaker.
So let’s come back to the Marmite question again. “Love it, hate it, you can’t ignore it”. That is simply not true. Looked at logically the vast majority of the British public remain in denial that Marmite is a big issue facing the United Kingdom. It’s a clever ruse to sell a strong tasting edible (or inedible depending on your view) spread. If a Marmite insurrection has sprung up then it has passed me by. HDR certainly provokes strong opinions, but in ten years time it may be a capability so ubiquitous in photographic equipment that we give it no thought, in exactly the same way as most people do with most Marmite questions. Depth of field may be going the same way, where the out of focus becomes a filter you apply. The technology has been around for a while, only now it’s electronic. Those that do tend to feel strongly about this sort of thing, feel very strongly indeed, how do you like Marmite?
N E X T M E E T I N G
Your Picture Your Way – Architecture & Artistry. Bring an image or two on these themes and give us some insights on the who the what, the why, the where, the when and the how!
A N N O U N C E M E N T S
Monday June 15th – peaking between 00:30 and 02:00 The Milky Way.
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.
Colour space and gamut. Sounds like a poor man’s crime fighting duo, but as Rich Price showed us it is a surprisingly powerful way to subtly (or not so) expand the presentation of colour in an image. Concentrating on derivatives of RGB, Red, Green, Blue, from which all other colours can be made and moving towards white, there are a number of different models – the basic physics of how we end up seeing the rendering – all existing to do the same job: Turn 1’s and 0’s into recognisable colours on screen or in print ( the model is the printer’s map, the image the contour lines). CMYK mixes cyan, magenta, yellow and black (the K stands for Key ), on the page and is popular with magazines and similar publications, and works by subtracting light from white as the start point. Then things start to get complicated with other models, such as CIELAB and CIE XYZ that approximate human vision in constructing colours and are used converting RGB images to CMYK. In itself all fascinating but not something that we need particularly concern ourselves with in depth. It gets very technical but is interesting.
So much for the models but we were concentrating on the work spaces. There are a number of them: sRGB – the most common found in display screens and cameras, PhotoRGB, the aforementioned CIELAB and Adobe RGB are a few. Rich concentrated on sRGB, and Adobe with a brief excursion through ProPhoto which Adobe use between LightroomTM and PhotoshopTM. Prophoto has a very large gamut, in fact 15% of it cannot be seen with the human eye. More is not always better, as with everything else, more is only useful when you have a need for it. If your image is looking muddy it is far, far more likely that you are viewing the narrower sRGB profile in an image that was modelled in the more defined Adobe RBG than the straight forward “fault” of the more limited spectrum. Most people cannot tell the difference most of the time. The gamut of any two profiles will have colours in common but when comparing sRGB and Adobe RBG the number of shades that can be represented between two points of saturation. What the smaller gamut will produce is an approximation of the colour defined in the larger one and necessarily, it will be different. The basis is in the degree of colour gradation that can be shown, that is the number of steps (shades) you can produce in the transition between two (complimentary) colours on the colour wheel. Just for the record the “small” sRGB colour space has 16,777,216 (256 for each of the RGB channels) colours in it.
The most likely time you will see the difference is when you print a digital image. Printer manufacturers have their own profiles and these are usually pretty easy to get hold of – unlike the Linux version of Adobe which seems to have disappeared from their website. These can then be loaded into your editor, the internet will show you how for your programme if you don’t know. Paper manufacturers also have different profiles for their papers and the respective manufacturers web sites are the best places to start with this. What this means is that if you are sending off your treasured image to be printed then you get a heads up on what the final thing will look like through your editing programme. It can change quite a bit, for example, an early morning mist shot I took yesterday, an almost golden light, when reviewed via a Fuji printer ICC profile downloaded from the print shop, showed some of the shadows moving from an almost dark chocolate to cyan – the valley opposite had oxidised! It also saves you time and money when printing at home, and quality inkjet ink is not cheap and cheap inkjet ink can quite often look it, especially on a quality photo paper.
Rich, when he started his presentation, stated that there is an important factor to be taken into consideration when we are talking about colour space, which can easily be overlooked and comes to us from the familiar colour wheel. Colour space is three dimensional, whereas the colour wheel as most of us remember it is two dimensional. The three dimensions are hue, saturation and lightness aka HSL aka HSV (v – value) and they form the backbone of all image editing software. What we are doing when we edit is navigating our way around this space, forwards, backwards, side to side and up and down and in a combination of these three. That gives us a clue that there are work flow questions to be answered here. Work flow in itself is a whole separate blog and we will return to that sometime in the future, but essentially it is all the production, administration and physical actions it takes to complete a process. There are many different forms of workflow, probably as many as there are photographers practising, but, when it comes to colour space there are some basics worth heeding – not least the effect your monitor is having on the images you are viewing and the accuracy and compatibility of colours when your image meets other devices. The club has a device for calibrating monitors which is available to borrow to club members. Ask about it at a meeting if you want to know more.
The second half of the meeting was a practical and members were busily engaged in the delights of LightroomTM and PhotoshopTM and there were more than a few “Aha!” moments. So, our thanks to Rich for his time and energy in putting this together. Next meeting is our own Adrian Cooke who will be talking us through a selection of his images.
Next meeting is also the deadline for Deadline for “Dear Reflex…” questions “Dear Reflex…” is a question and answer session where club members can ask any photography-related questions of the club. These will later be presented to members who will have the opportunity to volunteer to answer them, and given time to present their answer.
See you Thursday!
Last meeting Mark Stone , in a well attended meeting, took us through some editing options he uses on Light Room and Photoshop. Mark is a big fan of black and white, not to the exclusion of colour, but he has a strong affinity to the ascetic and opportunities that black and white presents, so it is this that we will investigate a little further this week.
Black and white photography happened first of course. Joseph Nicéphore Niépce’s heliograph taken at his estate in 1826-27 gives a barely legible but still discernable image of a stand of trees, fixed in bitumen (Daguerre used copper plate, Fox-Talbot was the first to fix an image on paper), but since the invention of colour – which had a long gestation period – it has gradually receded to niche and specialist markets. To its fans and I am certainly one, it is too often overlooked (guilty), or most people who occasionally venture that way look upon as a fix for images that didn’t work but still have something but you are not sure what (“Taking the fifth” on that one, well shoot in colour and edit to black and white is my excuse). Incidentally that is a two way street. There is no doubt that there is a skill to looking at an image as a black and white one from the off.
Some people might think that there is a certain nostalgia attached to monochrome that is a bit off-putting and reeks of chemicals and cardigans and people (men mainly) sucking on their dentures and complaining that things aren’t like they used to be. Certainly they are not. It’s called progress. The darkroom and its arcane ways have fallen from popular use. Photography as a whole, with the digital revolution, has become far more democratic and personally I think that a good thing. This, however, is the science and we are talking here about the art. If, on the other hand, you have used a dark room over some time, then there is a pretty good chance that you keep a warm place in your heart for those processes, for the choices of paper and the effects they have on the final image (for the uninitiated it evolves mainly, but not entirely, around the question of how black is black) for the magic of the image appearing on the paper. Black and white was far cheaper and a lot less complex than colour. Not many people go back though, at least not exclusively. Digital can be just as good.
As I said, this about the art (you’ll remember that argument from last week), the perceptions, that the image creates in the viewer. In black and white contrast is king, but across a spectrum shaded in grey. Subtlety is the greater part of it. That is not to say that extremes don’t have a part to play, it is part of the process of selection that forms the backbone of the monochrome discipline – and yes that is something which can be about post production, but as with everything else, it can’t all be about post production; the initial pre-shutter decisions are still hugely important. Black and white is about texture, forms and contrast above all. When these are the most important things in an image then black and white is the medium of choice, but it remains a subjective choice. Primarily these elements become important because when you remove colour from a photograph these elements are what lead the eye.
Texture, the consistency of a surface in a photograph defined by its irregularities, provides us with basic information that we can use to comprehend what that object is or made of. It can be more important than what that actual object is especially in abstract. Form, the three dimensional representation of an object (shape is 2D), especially in the absence of colour, is probably the biggest clue we get to what we are looking at and contrast, of course, is important in all forms of photography. Black and white concentrates the eye on the intensity and differential qualities in light to a higher degree than in colour (colour, of course being the most striking and the most absent of the elements of design in monochrome).
So it helps to concentrate on lines, shadows and shapes, not ignore the basic rules of composition (master them before you break them), plan ahead and practice, practice practice! There are advantages to shooting in colour (you can always revert to it) and there are advantages in using a RAW format – as per the above plus there is more scope for capturing tones across a range of light and dark in the same frame. There is no particular reason why you shouldn’t use JPEG should you so wish, but, as always, you have lesser latitude to edit with. It also helps to know the effects of colour filters on the image, which can easily be applied post production, or by simply fixing one to the front of your lens.
We have another round of the ROC in the new year, so why not use that as a chance to get some feedback on your black and white photography? Better yet, black and white is December’s Flickr competition topic.
CONGRATULATIONS to our esteemed chair on his MBE collected Thursday last awarded for his work with youth via the Air Training Corps. Well done and well earned Maurice.
Time is running out but there are still places on the WOODLAND shoot. See Myk.
December 11th – The second round of this year’s Reflex Open Competition (ROC) will be judged tonight.
December 18th – Christmas social evening. To quote Mark S (again):
” Thursday 18th December is our Christmas Social. We’re planning on doing an American Supper style evening which means we’d like you to bring some food & drink. So that you don’t all bring in a pack of Scotch Eggs we’ve created a list that will be on the sign in desk each week up until the 18th. If you’d like to take a look at what is on the list just peek at the PDF attached to this post.
8TH January 2015“What Christmas Means to me” & Mounting Prints
See everyone’s images from our Christmas Challenge of “What Christmas Means to me” followed by a demonstration on how to mount your photographs.
I bet your wondering what this “What Christmas means to me” thing is as you’ve possibly never even heard it mentioned at the club before. Well now I’ve had it explained to me with a handy infographic I can explain it all to you. Well actually no I’m not instead you can follow this link and read all about it as that’s exactly the same way I found out what it was!
15th January 2015: Club Battle, Bristol Photographic Society (Away).
Reflex Open Competition Digital Image Round 1 Winners
Thursday saw us eagerly anticipating the results of the first round of the Reflex Open Competition (from now on just called the ROC as I’m too lazy to type all that out every time). What most members didn’t know is that the day before the Judge we had booked backed out due to illness! It has to be one of the things most Club Competition Secretaries dread. Unfortunately we couldn’t find a replacement before the meeting so we were going to go with giving everyone a piece of paper and getting them to mark each image. Then luckily for us, not for him, Simon Caplan walked through the door. Under no pressure whatsoever, honest, he volunteered to judge the images for us. Maybe he should of asked how many had been submitted before he agreed as he soon discovered cold judging 77 images isn’t the easiest thing in the world. So I’d like to take this opportunity to thank Simon on behalf of everyone for stepping up and putting himself in the firing line.
A small reminder of some of the rules
Before I give you the results I’d just like to remind you all of some of the rules for entering the ROC. The website has a dedicated page just for the ROC which you can find here.
- Your digital files MUST be named correctly or they will not be entered.
- They must begin with a number sequence of 01, 02 or 03.
- Then you MUST use a SINGLE underscore _ . The underscore is normally found by using shift on the minus key of your keyboard.
- Then you type the title of your image followed by a SINGLE underscore.
- Finally enter your Membership Number. If you don’t know your membership number you can ask the Membership Secretary or the Club Treasurer
- All files must be in JPG format and should be saved in the sRGB Colour Space
- Maximum image size is 1400 pixels wide and 1050 pixels in height
- If you submit PRINTS you MUST submit a digital copy of that print
Here are a few examples of correctly named image files:
01_My Wonderful Image_251.jpg
02_My Wonderful Image_251.jpg
03_My Wonderful Image_251.jpg
PRINT_My Wonderful Image_251.jpg
And Now For the Winners
Showing Off Again
Reflex Camera Club Exhibition at Southmead Hospital
No the title isn’t about Myk. It’s the title of our brand new exhibition at Southmead Hospital, Bristol.
On Wednesday myself and Myk drove out to Southmead to deliver the clubs framed prints. We were told to head to the delivery bay which nearly resulted in us paying an impromptu visit to the Maternity Unit but just in time we realised that Delivery Suite means a totally different thing at a Hospital! However we did manage to find the right spot and amazingly even managed to get a parking space right outside. If you’ve been to Southmead Hospital recently you’ll know exactly how difficult that is as their new car park isn’t open yet.
Up they go
Once we had the images inside we unwrapped them and the team from the Hospital laid them out and hung them up on the wall. Below you can see some images we took of them being hung and the finished look. The new location is in the main atrium and is very prominent. Anyone walking through that part of the Hospital has to go right past them. So they should be looked at by Hundreds if not Thousands of people each week.
If you want to go take a look then just head on over and walk in. Richard Price’s Poppy Image was chosen to star on the leaflets they are printing to advertise the Exhibition and its going to run until sometime in January (we haven’t been given an exact end date yet).
So head on over and take a look at our members wonderful images!