FEATURED MEMBER JOHN ROBERTS John serves as The Southern Highland Photography Society's vice president, contributing to its ongoing success. John's personal journey with photography is outlined on Page 6 and his imagery is testament to his passion and interest in this art form. Thank you John for your service to our society.
On Photography
Welcome to the Southern Highlands Photographic Society Newsletter where we are dedicated to the Art of Photography. OUR MISSION Improving Photography through Education
Issue 7 | Volume 14 | 2017
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September 2017 20162016
UPCOMING calender EVENTS SOUTHERN HIGHLANDS ART INFO OCTOBER 17TH: LOW LIGHT AND MOTION PHOTOGRAPHY PRESENTATION WITH BARBARA SEAGER (LOW LIGHT) AND SUE ROBERTSON (MOTION) OCTOBER 31ST IMAGE EVALUATION -THEME: OPEN NOVEMBER 21ST ACTIVITY NIGHT/PRINT PRESENTATION
The newsletter of the southern highlands photographic society
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Issue 7| Volume 14 | 2017
Southern Highlands Photographic Society shps.org.au
TULIP TIME SEPTEMBER 2017 AWARD IMAGES-JUDGED BY JACQUI DEAN
TULIP TIME SNAPSHOTS
DISTINCTIONS-COLOR Alan Edwards 'Patwen Woman Bob Green 'Anxiety' Gary White 'Drawn To the Light CREDITS-COLOR Ian Fegent 'Broken Hands Bob Green 'Through My Mother's Eyes Bob Green 'My Dream' Nadine Lindsay 'Judy' John Roberts 'Alan in a Spin' John Roberts 'Photo Progress Gary White 'A Woman's Work DISTINCTIONS-MONOCHROME Greg Searle 'Seen Better Days' CREDITS-MONOCHROME Gary White 'Hands of Time
PRINT AWARDS
PROJECTED IMAGE AWARDS
DISTINCTIONS Laura Knight 'Cormorant Fishing' Sue Robertson 'Outback' CREDITS Charles Foreman 'Forest Floor Dawn Izurieta 'Blue Hair Girl Dawn Izurieta 'Honey Cream Chocolate Pie' Dawn Izurieta 'Credit' Laura Knight 'The Card Players' Robert Leso 'I Do' John Stephens 'String of Pearls
When did you pick up your first camera and can you remember your first image? & How long have you been shooting? When I was about five years old my father and I were on a boat trip out of Darwin, where we lived, and I remember asking if I could take a photo with his camera. The photo was of the lighthouse on Cape Don on the western tip of the Cobourg Peninsula and a print is in his photo album which I now have. I continued to take photographs over the years and have done so more seriously in retirement . Do you have a specialty and why did you select it? Places you like to shoot. I’m particularly interested in landscape, nature and travel photography. Landscape and nature photography means the country, which is where I most like to shoot. I have been fortunate to do a number of trips in Australia and overseas in recent years which have provided the opportunity to shoot in interesting places. If I have a specialty it is probably birds. It’s a challenge to get good photos and very satisfying to get really good ones. Photographers you find inspiring? I particularly enjoy Australian landscape photographers, such as Ken Duncan and Peter Eastway. A lesser known photographer I admire is Dan McIntosh who is a station cook and keen photographer and started a Facebook page called “Station Photos” which led to others contributing photos and ultimately a book of the best titled “Outback Stations”. It contains great photos by lots of everyday photographers. One of the great things about photography is that everyone can do it. What fuels your creative passion and where would you like your photographic journey to take you? Photographic society competitions and the comments of the judges and fellow members have been important in helping me to take better photographs. The work of other members is inspiring and shows me what’s possible. I take photographs primarily because I enjoy it, so my aim is to continue enjoying it and continue to improve. Equipment I have two Canon camera bodies, a 5D mkII and a 5D mk IV and two main Canon zoom lenses, a 24-105 mm and a 100-400 mm.
FEATURED MEMBER-JOHN ROBERTS Featured
tips and techniques PHOTOSHOP & LIGHTROOM
tips and techniques
Issue 7 Volume 14 | 2017
tips and techniques PHOTOGRAPHY
BREAKING DOWN MASTERFUL COMPOSITION OF HENRI CARTIER-BRESSON’S PHOTOS
How to Do Light Painting Photography with a 4-Foot Tube
It's All in Your Head: Photographic Vision Over Photographic Skills
Henri Cartier-Bresson "Pen, Brush and Camera" 1998 Full Length
I love to photograph the patterns of nature. Even when amid the grand landscapes of nearby Yosemite, I often turn my eyes and my camera toward intimate details near at hand. I bought my first camera in 1974, which thankfully came with a set of extension tubes and a 50mm lens. I was fascinated with the details of nature, and focused more on graphic close-ups rather than the scenic landscape. I also used my 4x5 film camera to isolate nature's details. The ability to tilt and shift the lens is a great advantage in controlling the depth of focus to create sharpness throughout the frame. With the view camera bellows extended to its maximum length, I could focus very closely, but not quite at "macro" lens magnification. My enthusiasm for macro is still alive and well with my digital cameras. As in those early days, my tools are simple. I use a 50mm macro or a 90mm tilt-shift lens, which offers similar depth-of-field control as my view camera did. One of the key skills any macro photographer needs to learn is how to manage depth of field. CLICK HERE TO READ THE COMPLETE ARTICLE
By Nature’s Design
“My quest, through the magic of light and shadow, is to isolate, to simplify and to give emphasis to form with the greatest clarity. To indicate the ideal proportion, to reveal sculptural mass and the dominating spirit is my goal.” – Ruth Bernhard Light painting (I refer to it as Sculpting with Light) more than any other method of lighting, allows us to combine lighting concepts, or principles, in ways not available to us in “normal” methods of lighting. These concepts, taken separately, are simple and easy to understand, but when we are sculpting with light (using a long time exposure and “painting” the light onto the subject in a controlled way), these concepts overlap and affect each other to a greater degree than in ordinary studio lighting. This is compounded by the fact that we use the light at very close distances when sculpting with light. When using the light very close to the subject (almost always within the set, and very often just an inch or two from the subject), the effects of the properties of light are magnified. CLICK HERE TO READ THE COMPLETE ARTICLE
The Sculptural Aspects of Light
EDUCATIONAL RESOURCES
