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									                          In Black & White ~ September 2005

                           RINGWOOD BLACK & WHITE CAMERA CLUB INC
                                   Incorporation No A0026658L

        PRESIDENT               Mark Dalton        9893 3921 president@ringwoodcameraclub.org
        VICE PRESIDENT          Tim Hughes         9874 8979
        SECRETARY               John Tuckett      9762 2164 secretary@ringwoodcameraclub.org
        TREASURER               Rosie Hughes


                                       The President’s Report
Firstly, congratulations to David Murfin & John Westley for being awarded life memberships. David has been
a club member for over 20 years and has run the Lilydale Show photographic competition, David has served
on the committee and has assisted in general duties and contributed immensely to the club overall. David
has recently moved from the area and hope to see him from time to time. Like David, John has also been a
club member for approximately 20 years. A committee member at various times John has also held the
position of Presidency. Well known for his landscape photography, John has also recently mentored fellow
club members passing on his wealth of knowledge and experience. We are thankful for all the dedication and
support from both members over the years.

The 2006 syllabus is currently being complied and I welcome any input regarding workshops etc. The
syllabus will be set by November.

We are very fortunate that the September competition will be critiqued by John Pollard (retired professional
photographer) and a leading fine art photographer. I encourage all members to enter this competition as
John’s advice and experience is invaluable.

The October Workshop will be conducted by Peter English (retired professional photographer) and the topic
will be ‘lighting the subject’. Peter has demonstrated at our club previously and has a knack to demonstrate
and explain complex lighting situations in layman’s terms. Peter puts a lot of effort and time into organizing
these workshops so please take this opportunity to attend and support the club. See you all there!

A committee meeting will be held in the next week or two and if anyone wishes to raise any issues please
discuss it with a committee member. Suggestions are welcome by any member.

The Annual Dinner was again a warm and cosy night. This year saw a large number of prints entered in the
competition. So thanks to all who attended and to the members who helped out. The next Annual Dinner will
be a celebration of our 50th year. More details in the near future.

There has been a shift in momentum in the monthly competitions recently, and it’s largely due to some of the
newer members who have been doing quite well. Chris & Matt have also been impressive with some terrific
prints. I believe the competitions are about discussion, evaluating, & learning. Not every print entered has to
be a winner. It all comes down to enjoyment, if you appreciate a photograph for whatever reason, that’s all
that matters.

Mark Dalton
President
          ANNUAL GENERAL MEETING                          1st       Matt Moore           Oppy                   11.7
                                                          2nd       Graeme               Old Post Office        11.4
At the AGM held on the 24th June 2005 the                           Robertson
following were elected unopposed for the following        3rd       Tim Hughes           Woman and              11.3
year:                                                                                    Friend

President:                           Mark
                                                          Set Subject “In My Garden”
Vice President:                       Tim
                                                          1st      Matt Moore           Lillies                 10.6
Secretary &                         John T.
                                                          2nd      John Tuckett         Frog on Bicycle         9.7
Competition Steward:                                      =3rd     Rosie Hughes         Abraham Darby           9.4
Treasurer:                          Rosie                 =3rd     Rosie Hughes         Pumpkin in my           9.4
Social Secretary:                  Rebecca                                              Garden
Meeting Host:                      John W.
Suppers:                             Matt                 August Competition
Publicity:                           Ian
                                                          Open Section
Newsletter:                          Jill
                                                          1st      John Westley        Iguassu Falls        11.714
Webmaster:                          Peter
                                                          2nd      Tim Hughes          Woman and            11.572
General Member:                     Peter                                              Baby
                                                          3rd      Jill Turnbull       Tulip Elegance       11.429
      MAROONDAH PHOTOGRAPHIC SOCIETY                      Set Subject “Abstract”
The Maroondah Photographic Society Inc,                   =1st     Graeme              Fourth               11.714
(formerly Ringwood Amateur Photography Club)                       Robertson
has invited us to take part in the 16th Annual            =1st     John Westley        Spiral Prisms        11.714
Eastern Interclub on Wednesday the 27th                   2nd      Rosie Hughes        Reflections          10.857
September at 8 pm. The venue is their rooms at            3rd      Ian Turnbull        Tassie Sculpture     10.714
the North Ringwood Uniting Church, Dickson
Crescent, North Ringwood Melway Map ref: 49K3.
        The following entry has been selected to                           SCORING CRITERIA:
represent our club.
                                                          IMPACT:        Creativity,       message,       strength,
“Woman & friend” - Tim Hughes; “Oppy” - Matt              imagination and innovation
Moore; “Old Post Office” - Graeme Robertson;              TECHNIQUE: Exposure, print quality, use of
“City Flyer” - Mark Dalton; “Lone Pedestrian” -           elements – lighting, tones etc.
John Tuckett.
                                                          COMPOSITION: Design, balance, tonal balance
                                                          The print must be monochrome (i.e. of any colour)
         CLUB COMPETITION RESULTS                         with no more than 10% of another colour by
                                                          painting, collage, toning or other process.
June Competition
Open Section
                                                                         GUIDE TO CRITIQUING PRINTS
1st      Tim Hughes         Departure Lounge      11.5
2nd      Tim Hughes         Dave in Profile       11.29   For a useful reference on critiquing prints see “A
3rd      Graeme             Plain Sailing         11.17   Beginner’s Guide to Commenting on Gallery
         Robertson                                        Photographs” by Gary Wisniewski. For a copy of
                                                          the article go to http://www.passionforpixels.com/
Set Subject “Reflections”
1st     John Tuckett        Boathouse             11.5                       END OF YEAR AWARDS
2nd     Matt Moore          Crystal Vase          10.5    At the Annual Dinner held at Alfred’s Homestead
3rd     Graeme              Smooth                10.33   on Sunday 3rd July the following awards were
        Robertson                                         made.

                                                                 President’s Trophy:            Peter Westley
July Competition                                                 Print of the Year:             Matt Moore
                                                                 Guest’s Choice:                Tim Hughes
Open Section
                                                                 Open Aggregate:                Tim Hughes
                                                                 Set Aggregate:                 John Tuckett
2005 Aggregate Scores                                    Yarra
                                                         Ranges        Laura                   11
Open Section                                             Yarra         Dunnottar         and
                                                         Ranges        Snow                    12
1st       Tim Hughes         78.28                       Yarra
2nd       John Tuckett       75.40                       Ranges        Winter Birches          13
3rd       Chris Hoare        74.45                       Yarra
4th       Matt Moore         70.64                       Ranges        Fishing at Frecinet     10
                                                         Yarra
Set Subjects                                             Ranges        Pinnacles               12
                                                                                     TOTAL     58
1st       John Tuckett       78.44                       Ringwood
2nd       Matt Moore         70.78                       B&W           A Still of Life         11
3rd       Peter Westley      70.30                       Ringwood
4th       Rosie Hughes       69.43                       B&W           City Flyer              13
                                                         Ringwood
          KNOX PHOTOGRAPHIC SOCIETY                      B&W           Hooped Walk             11
              INTERCLUB RESULTS                          Ringwood
                                                         B&W           Just Joey               12
Large Prints                                             Ringwood
Author ID      Title                    Points   Place   B&W           Falls                   11
KPS            One Small Step           14       HC                                  TOTAL     58
KPS            Winter Joy               11
KPS            Yuletide Greetings       9
KPS            Winter Glory             12                                 EXHIBITIONS
KPS            Glow in the Desert       12               Monash Gallery of Art: Photographers Ponch
                            TOTAL       58               Hawkes to 2nd October and Peter Adams to 25th
Oakleigh       Trevor                   10               September. Location: Corner Jells and Fern Tree
Oakleigh       Autumn Dew               9                Gully Roads, Wheelers Hill. Open: Tuesday to
Oakleigh       Fremantle Museum         9                Friday 10am to 5pm, Saturday & Sunday 12pm to
Oakleigh       Miriam                   13               5pm. Closed: Monday and Public Holidays.
               Grass     Trees     in
Oakleigh       Bloom                    15       1st
                             TOTAL      56
               Black Stump and                               PHOTOGRAPHER’S COLUMN
Ivanhoe        Beyond                   11
Ivanhoe        St Patricks (Albury)     14                          DIGITAL DARKROOM TIPS
Ivanhoe        Sweet Smile              11
Ivanhoe        Young Franklyn           12               To burn in edges and corners of a print:
Ivanhoe        Christopher No 3         13
                             TOTAL      61               •   Create an empty Adjustment Layer
               Nudge Nudge Wink
Caulfield      Wink                     13               •   Set the Blend Mode to Multiply
Caulfield      Silver Shimmer           12               •   Lower the Opacity of the Adjustment Layer to
Caulfield      Wagon Wheel              11                   adjust the amount of darkness required
Caulfield      Arum Lily                12
Caulfield      A Lighter Moment         10               •   Fill the Adjustment Layer Mask with black to
                             TOTAL      58                   hide the Multiply effect
Camberwell     Sunbather                10               •   With the Mask activated, paint with white
Camberwell     The Look                 10                   around the edges and corners of the print to
Camberwell     Boy and Best Friend      10                   reveal the darkened effect from the Adjustment
Camberwell     Irene Goodbye            13                   Layer
Camberwell     Tag Team                 9                                      (Contributed by Jill Turnbull)
                             TOTAL      52
Southern S     Night Owl                13
Southern S     Bushy                    14       HC
Southern S     Looking to the Hills     10
Southern S     Drying Out               14       HC
Southern S     Mirror Image             10
                            TOTAL       61
 GICLEE MEDIA SUPPLIES PRESENTATION                          colour/contrast control. What you see will
                                                             then be close to what you get
 to Ringwood Black & White Camera Club and
                                                         •   The latest Epson ink set includes Black,
visitors from Knox Photographic Society and
                                                             Dark Grey, Light Grey, Cyan, Light Cyan,
Maroondah Photographic Society & others on
                                                             Magenta, Light Magenta and Yellow
               10th June 2005.
                                                         •   Ink failure usually occurs first in the Light
Bruce Connelly gave an interesting and                       Cyan & Light Magenta inks, as these are
informative presentation covering a wide range of            produced by degrading Cyan & Magenta
issues primarily focused on digital output to inkjet         pigments respectively
printers, with an emphasis on Black & White              •   Degradation mostly from atmospheric
photographs.                                                 pollutants rather than light as tested by
                                                             Wilheim Labs. Worst offenders are ozone
Giclee Media Supplies run by Bruce’s wife Anne-              near the beach, and windex
Marie is primarily an importer and supplier of
specialist papers and canvas materials to the fine                          Monitors
art reproduction market throughout Australia. The        •   Don’t use an LCD monitor to judge color
papers include 100% cotton rag papers, with and              fidelity of your images, as they are
without inkjet receptor coatings, canvas with &              notoriously difficult to control. They are
without inkjet receptor coating, high quality gloss,         however OK at a second monitor in a 2
luster & matt coated photographic inkjet papers              monitor set-up to contain all the menus
and they are about to introduce silk for printing            and tools etc
using inkjet printers. Giclee also supply a range of     •   Use a CRT (Cathode Ray Tube) preferably
varnishes and other coating materials for surface            flat screen monitor to display images.
coating of art materials to increase durability and          These are becoming increasingly difficult
longevity of the artworks. The papers are usually            to obtain, with the current promotion of
provided in rolls up to 60 inches wide. Giclee have          LCD monitors (& TV’s)
recently commenced selling paper cut into A4 &
A3+ sizes. They may commence selling papers in                          Colour Space
plain boxes through Camera Clubs at close to             •   If your camera supports it, only use the
wholesale prices.                                            Adobe RGB 1998 color space.
                                                         •   It contains more colors that SRGB, fewer
The Giclee web site is www.gicleemedia.com.au .              colors than your screen can produce and
The marketing information above only formed a                more colors than your printer can produce
small portion of the total presentation of which the
highlights are provided below. The                                       File format
information/hints are provided in a concise format,      •   Shoot in RAW format for the highest
not necessarily in the order presented by Bruce.             possible image quality and save them to
                                                             TIFF after RAW processing
                       Papers
    •   Only use papers supplied with a profile,             Mounting – for maximum longevity
        which enables software to control the            •   Use 100% cotton rag papers with ink
        colors reproduced by the printer. Bruce’s            receptor coating
        papers all come with profiles established        •   Do not use resin coated papers
        using a Graytag Macbeth colorimeter for          •   Use only pigment inks (Epson or HP).
        calibration. Epson web site has an                   These will last up to 200 years compared
        excellent tutorial on installation of profiles       with 40 years for the best minilab prints on
    •   If you can afford it, it is best to use a            Fuji Crystal Archive paper. Only traditional
        custom calibrated profile                            fibre based prints properly fixed & washed
    •   Don’t use resin coated papers                        and selenium toned will last longer
    •   Preferably only use 100% cotton rag              •   Use only acid free and lignum free
        papers for maximum longevity                         mounting & backing materials
    •   Matt papers last longer than gloss               •   Seal prints from air contaminants behind
    •   Only use matt papers for dye inks                    glass or a liquid laminate (several thin
    •   Can use luster papers for pigment inks               coats better than a thick coating)
                                                         •   If subject to sunlight, don’t use papers with
                        Inks                                 optical brighteners
    •   Maximum life from pigment inks although
        they don’t have the color gamut of dye inks                         Lenses
    •   Best to use ‘soft proof’ as rendering intent     •   For highest quality only use prime lenses,
        in Photoshop to dull the image for                   (especially for wide angle shots) to
                                                             produce high edge sharpness and contrast
   •   Zoom lenses in the medium telephoto                maximum depth of focus, this is not usually
       range ie 70mm to 200mm are very good               a concern
   •   Virtually all wide-angle zooms produce         •   Shift mechanism was used to take
       poor edge contrast & sharpness and                 adjacent consecutive images without
       produce color aberrations (fringing). Check        shifting the lens (the camera can be shifted
       out the MTF charts produced by the lens            11 mm each way on the back of the lens
       manufacturer                                   •   As an affordable alternative for enthusiasts
   •   In monochrome work, the effects of color           who can not afford a TSE lens, Bruce
       aberrations can be reduced by using                recommends a 50mm f1.8 lens, as these
       mostly the red channel in the channel              prime lenses from almost any
       mixer                                              manufacturer are highly developed,
   •   With the possible exception of Leica lenses,       aberration free and cheap
       developments of digital sensors have now       •   All shots taken with both manual exposure
       exceeded the resolving power of most               and focus to eliminate changes between
       lenses                                             adjacent images
   •   Lenses are generally not good enough for       •   Polarizing filter used to increase contrast in
       full size sensor DSLR’s due to edge                sky (Bruce believes other filters are not
       sharpness & contrast, therefore smaller            necessary when shooting digitally)
       sensor cameras better for accurate             •   All images fine-tuned and sharpened in
       reproduction.                                      RAW processor to the same settings and
   •   Lens aberrations can be corrected using            stitched together. Very good results with
       very expensive software profiles for               any prime lens, and perfect fit with TSE
       individual lenses available from French firm       lens
       DXO Optics, which uses exif data attached      •   Cropping and local contrast control then
       by Canon lenses to image files                     applied in Photoshop in grayscale mode
                                                          using primarily the red channel, but with
                Image Sharpening                          some green & blue. This minimizes the
   •   Images should be sharpened with unsharp            effects of chromatic aberration
       masking 3 times                                •   USM sharpening undertaken in the
       1. In the RAW converter                            luminosity channel in Lab mode
       2. In Photoshop                                    (Luminosity, a and b channels)
       3. When printing (QIMAGE available over        •   Consider a RIP (Raster Image Processor)
           the internet for US$45 is                      for maximum quality in B&W printing.
           recommended )                                  Bruce recommends QIMAGE as it also re-
   •   In Photoshop                                       sizes to any size without loss of quality
       1. General USM sharpening @ 50 pixels          •   Mount as described above for maximum
           varying the % until it ‘snaps’                 longevity
       2. Micro content USM sharpening @ 0.8
           pixels varying the %                                                   Article by Mark Davy
       3. In B&W only sharpen in the luminosity
           channel
       4. In blending mode sharpen black mode
           and white mode separately???

         High Country Panoramic Print
Bruce described the process for producing the
example panoramic print he displayed.
   • He used a Canon EOS 20D @ ISO 100
       and shot RAW in Adobe RGB
   • Mounted on a sturdy Manfrotto tripod via
       the lens’ tripod mount
   • Lens was a prime Canon TSE (Tilt Shift
       lens). 90mmTSE lens has virtually zero
       chromatic aberration and edge distortion,
       which is necessary for enlargements up to
       40 times. 45mm TSE lens is almost as
       good, and produces a natural perspective
   • Tilt mechanism is used to increase the
       amount of scene in focus. Although with
       landscapes shot at small apertures for

								
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