1. Art and Diseño

Midphot Exhibition
MCPF Club Championships
Cheltenham CC 150 Years
MCPF Guide & Directory
MCPF Events
PAGB APM Report
Compton Verney / Wellesbourne PG
Wrekin Arts PC
VECC Photo 2015
Fosse Co-op CC
The Stereoscopic Society
East Midlands A/V Group
South Birmingham PS
Stafford PS
Cotswold Salon
Foto Film Academy
Permajet
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Midland
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Photographic
Federation
www.mcpf.co.uk
Your Federation
Your Club
Working Together
U N D E D 1907
e-Newsletter
Contact the editor:
Issue 70
February 2015
Roger Barker LRPS
24 Arthur Street
WELLINGBOROUGH
Northants
NN8 3HH
Tel: 01933 279554
email: [email protected]
e-Newsletter
52nd Exhibition of Midland Photography
MidPhot 2015
Mar 25th - 29th
The Old Schoolhouse
Churchbridge, Oldbury B69 2AS
Go to MCPF website for times and details www.mcpf.co.uk
or email: [email protected]
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MidPhot 2015
52nd Annual Exhibition
of Midland Photography
Wednesday 25th March
to
Sunday 29th March
SELECTORS
General PrInts & creatIve Panels
Malcolm Kus ARPS DPAGB EFIAP/b
Michael Krier ARPS MA (Photography)
Graham Hodgkiss ARPS MPAGB APAGB AFIAP
General Projected ImaGes
Martin Fry AFIAP AV-AFIAP BPE2* APAGB
Michael Krier ARPS MA (Photography)
Graham Hodgkiss ARPS MPAGB APAGB AFIAP
nature PrInts & nature Projected ImaGe
Gianpierio Ferrari FRPS DPAGB ABPE
Ian Whiston DPAGB, AFIAP,BPE3*
Malcolm Kus ARPS DPAGB EFIAP/b
Closing date for Entries 7th Feburary 2015
THE OLD SCHOOL HOUSE, CHURCHBRIDGE, OLDBURY
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Classes and Awards
Colour Prints
Monochrome Prints
Best Print - Judith & Roger Parry Trophy
Best Print -Terry Chapman Trophy
Best Landscape - MidPhot Golden Jubilee Trophy
Best Landscape - Phil Swain Trophy
Best Portrait - Jill and Peter Young Trophy
Best Portrait Print
PAGB Silver Medal
PAGB Silver Medal
Projected Digital Images
Best General Image - Mildred Sothern Trophy
Best Landscape - Graham Hodgkiss Trophy
Best Contemporary Image - Bert Gutteride Trophy
PAGB Silver Medal
Creative Panel of Prints
Best Panel - Barbara & Ray Porter Trophy
Nature Prints
Best Print - Alex Watson Memorial Trophy
Best Print of a Mammal - David Moore Trophy
PAGB Silver Medal
Nature Projected Images
Best Image - MCPF 75th Anniversary Trophy
PAGB Silver Medal
Each judge in each class with the exception of the Creatve Panel of Prints will be able to award an
MCPF Medal to a photograph of their choice. MCPF Ribbons will be awarded in each class.
Definitions
Black & White Photography (Monochrome - FIAP)
A black and white image is one with tones from very dark grey (black) to very clear grey (white) A black and white image
toned entirely in a single colour will be able to stand in the black & white category and can be reproduced in black &
white in the catalogue. On the other hand a black and white image modified by partial toning or by the addition of one
colour to a part of the image becomes a colour image and should be entered in the colour category. This type of image
will be reproduced in the colour pages of the catalogue.
Definition of Nature Photography (PAGB Feb 2013)
Nature photography is restricted to the use of the photographic process to depict all branches of natural history, except
anthropology and archeology, in such a fashionthat a well- informed person will be able to identify the subject material
and certify its honest presentation. The story telling value of a photograph must be weighed more than the pictorial quality
while maintaining high technical quality. Human elements shall not be present, except where those human elements
are integral parts of the nature story such as nature subjects, like barn owls or storks, adapted to an environment
modified by humans, or where those human elements are in situations depicting natural forces, like hurricanes or tidal
waves. Scientific bands, scientific tags or radio collars on wild animals are permissible. Photographs of human created
hybrid plants, cultivated plants, feral animals, domestic animals, or mounted specimens are ineligible, as is any form of
manipulation that alters the truth of the photographic statement.
No techniques that add, relocate, replace, or remove pictorial elements except by cropping are permitted. Techniques
that enhance the presentation of the photograph with out changing the nature story or the pictorial content, or without
altering the content of the original scene, are permitted including HDR, focus stacking and dodging/burning. Techniques
that remove elements added by the camera, such as dust spots, digital noise, and film scratches, are allowed. Stitched
images are not permitted. All allowed adjustments must appear natural. Color images can be converted to greyscale
monochrome. Infrared images, either direct - captures or derivations, are not allowed.
Images used in Nature Photography competitions may be divided in two classes: Nature and Wildlife. Images entered in
Nature sections meeting the Nature Photography Definition above can have landscapes, geologic formations, weather
phenomena, and extant organisms as the primary subject matter. This includes images taken with the subjects in
controlled conditions, such as zoos, game farms, botanical gardens, aquariums and any enclosure where the subjects
are totally dependent on man for food.
Images entered in Wildlife sections meeting the Nature Photography Definition above are further defined as one or more
extant zoological or botanical organisms free and unrestrained in a natural or adopted habitat. Landscapes, geologic
formations, photographs of zoo or game farm animals or of any extant zoological or botanical species taken under
controlled conditions are not eligible in Wildlife sections. Wildlife is not limited to animals, birds and insects. Marine
subjects and botanical subjects (including fungi and algae) taken in the wild are suitable wildlife subjects, as are carcasses
of extant species.
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General Conditions of Entry
Entrants must own the copyright of all images used in any entry. The MCPF accepts no liability for any
breach of copyright by an entrant.
Each entrant may enter a maximum of eight entries in each class - Monochrome Print - Colour Print Nature Print - Projected Image - Projected Nature Image. No entry may win more than one Award.
Each entrant must be a member of a club/society affiliated to MCPF.
Entry Forms:
Please complete an Entry Form for each class entered clearly, accurately and using BLOCK CAPITALS.
Entry Forms, Fees, Return Postage should be included in the same package as the photographs.
Titles, authors’ names and photographic honours will be based on details included on the Entry Form.
Electronic entry forms will be accepted.
Entry Fee:
A non-returnable entry fee of 75p per print or Projected Image and £3.00 per panel of prints must be
included with the entry. Cheques should be made payable to MCPF.
Prints (with the exception of the Creative Panel) must be mounted on light weight board not exceeding 50cm x 40cm no thicker than 4mm (thickness of 2 mounting boards) and must be titled and bear
the authors name, address and club.
Creative Panel of Prints
Only one panel per entrant. Any number of prints may be submitted BUT must not exceed more than 1
metre square. To be mounted on lightweight no thicker than 4mm (ie thickness of 2 mounting boards),
must be titled and bear the authors name, address and club.
Projected Images
Images must be jpeg format maximum 1400 pixels wide by 1050 pixels high. (Portraits should be 1050
pixels high). Numbered 1 to 8 followed by underscore then title followed by underscore then name of
entrant and saved in sRGB and as jpeg (jpg)
eg 1_name of image_name of author.jpg Save the images within a folder titled with the authors name.
Entries should be submitted on a CD and bear the authors name(s), and club.
More than one entrant per CD is preferrable. Please save authors folders separately in general and nature
folders. N.B. slides will not be accepted.
Provisos
The Exhibition is for work not previously exhibited at MidPhot. The entry of identical images throughout
all sections is discouraged. The organisers reserve the right to withhold from public exhibition any entry
which, in their absolute discretion, they consider to be undesirable.
No submitted entry may be removed from the exhibition without the permission of the exhibition organising
committee.
It is a condition of entry that any print/DPI may be selected and retained for possible inclusion in the
MCPF entry to the PAGB Print/DPI Competitions. Any such print may be copied by the PAGB to form
part of the PAGB Recorded Lecture Service. Any DPI accepted in the PAGB DPI Competition will be
copied for circulation in exhibition form to Federations, and then subsequently form part of the PAGB
Recorded Lecture Service.
The organisers reserve the right to copy and reproduce any entry in the catalogue for press or for use
in any MCPF promotion. Copyright remains with the author.
Every care will be taken of entries but the organisers cannot accept responsibility for any loss or damage
however caused.
In the event of any dispute, the decision of the organisers shall be final.
The submission of any entry is deemed to constitute
acceptance of these conditions.
Any queries please contact
Ralph or Lu Duckett 01283 740291 or email: [email protected]
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EXHIBITION TIMETABLE
Closing date for entries to collectors
Wednesday 4th February
Closing date for Post or at MCPF General Meeting
Saturday 7th February
Selection Weekend
Sat14th & Sun 15th February
Results Posted
Wednesday 25th February
EXHIBITION
Weds 25th to Sun 29th March
Returns available at collection points by
Tuesday 31st March
Returns and catalogues posted by
Saturday 4th April
N.B. Collection from Smethwick PS Club Rooms is Thursday evening only
unless by prior arrangement
ENTRIES
Entries for MidPhot can be sent in the following ways
by POST to
Ralph Duckett MPAGB EFIAP APAGB - MidPhot Chairman
Outwood Hill Farm,
Lower Outwoods Road,
Burton on Trent,
Staffs, DE13 0QX
Please remember that entries to be returned by post must have return postage
forwarded with the entry fees
by HAND to
MCPF General Meeting at The Old Schoolhouse, Oldbury
or
to the following delivery and collection points
Mon or Thurs evenings only Smethwick PS Club Rooms 0121 522 0279
Judith & Roger Parry, Birmingham 0121 427 4224
Mary Jenkins, Yardley 0121 628 6105
Ralph Duckett, Burton on Trent 01283 740291
Ian Bailey, Stratford on Avon 01608-663394
Alison and Andy Fryer, Stafford 01785 664109 N.B. Ring after 4pm
Mike Chapman, Solihull 0121 733 2521
Roger Barker, Wellingborough 01933 279554
Howard Bagshaw, Stafford 01889 881503
Please contact the above people by phone before delivery or collection
You are reminded that entries must be with the collectors by
Wednesday 5th February
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MIDPHOT 2015 - ENTRY FORM
CLUB/SOCIETY
CONTACT TEL. NO:
ENTER CONTACT NAME & ADDRESS
WITHIN BOX BELOW (ONLY ONE PER CLUB)
Email:
Please enter below how your work is to be returned
Post (remember to enclose your money)
Return via one of the collection points
Name
Collect in person from Smethwick PS
(NB Thursday only unless by prior
arrangement)
PLEASE ENTER ONLY ONE SECTION PER FORM AND TICK THE APPRORIATE BOX BELOW
PRINT SECTIONS
PROJECTED IMAGE SECTIONS
Gen
Nature
Mono
Colour
Nature
Panels
Digital
Digital
Acc
Acc
Acc Mark
Acc Mark
Acc Mark
Acc Mark
Mark
Mark
PLEASE PRINT CLEARLY IN BLOCK CAPITALS LISTING AUTHORS IN ALPHABETICAL ORDER
AUTHOR’S NAME & DISTINCTIONS
TITLE (MAXIMUM OF 8 PER AUTHOR)
OFFICIAL USEONLY
CATALOGUES MAY BE COLLECTED OR WILL BE RETURNED WITH ENTRY
……………ENTRIES @ 75p
or …………PANELS @ £3.00
£
£
:
:
TOTAL
£
:
Please make cheques payable to “MCPF”
PLEASE FEEL FREE TO PHOTOCOPY THIS FORM or DOWNLOAD FROM MCPF WEBSITE www.mcpf.co.uk
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MCPF Print and PDI Club Championships
Roger Parry ARPS EFIAP Hon.PAGB DPAGB MPAGB
MmIiıDdLlAaNnDd CcOoUuNnTtIiıEeSs
PpHhOoTtOoGgRrAaPpHhIiıCc FfEeDdEeRrAaTtIiıOoNn
www.mcpf.co.uk
PRINT and PROJECTED IMAGE
CLUB CHAMPIONSHIPS 2015
All member Clubs/Societies of the Federation are invited to take part in the MCPF Inter-Club Print/Projected Image
#&!%$( !&.(% "%$)*',) &'!")) !+!
$)''*$()%$icester, commencing
at 10.30am. There will be an admission charge of £6.00 per person attending.
All Clubs/Societies must notify us of their intention to compete by Monday 9th March 2015.
There is NO ENTRY FEE.
The two highest placed eligible Clubs/Societies in each championship will be invited to represent the Federation
in the 2015 PAGB Print/DPI Club Championships.
AWARDS:
THE CHAMPION PRINT CLUB
The Terry Chapman Award + MCPF Medal
THE CHAMPION PROJECTED IMAGE CLUB
The Max & Maggie Fileman Trophy + MCPF Medal
THE RUNNER-UP CLUB (in each section)
MCPF Medal
THE HIGHEST PLACED CLUB (In each section) WITH 30 MEMBERS OR LESS***
MCPF Medal
THE BEST PROJECTED IMAGE and COLOUR & MONO PRINT OF THE CHAMPIONSHIP
MCPF Medals
.
MCPF Medals
.
"(
(*** Small club medals will only be awarded if 4 or more small clubs enter)
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Judges:
Terry Donnelly MPAGB ARPS ABPE AFIAP (L&CPU)
Gareth Jenkins ARPS DPAGB AFIAP BPE3* (NWPA)
David Gibbins ARPS EFIAP APAGB BPE4* (N&EMPF)
Time-table
Closing date for advising that you are competing by
Entry Forms e-mailed to competing clubs by
Bank of projected images and all entry forms to be with the organiser by
First round prints by 10am on competition day
CHAMPIONSHIPS 10.30am until 4pm
Monday 9th March 2015
Friday 16th March 2015
Saturday 11th April 2015
Saturday 25th April 2015
Saturday 25th April 2015
PLEASE NOTE:
As you are aware the MCPF selects and holds prints for use in the PAGB Inter Federation Print Competition from
MIDPHOT If you wish to use these prints in the PRINT & PDI CHAMPIONSHIPS Please inform me and I will ensure
they are available for use on the day.
PARTICIPATION IN THE MCPF PRINT & PDI CHAMPIONSHIP IS ON THE CLEAR UNDERSTANDING THAT ALL
WORK ENTERED IS AVAILABLE FOR USE BY THE MCPF FOR BOTH THE PRINT & PDI INTER FEDERATION
CHAMPIONSHIPS LATER IN THE YEAR
-----------------------------------------------
If your Club/Society wishes to take part in either or both of these competitions please inform me by e-mail the
Championships organiser: Roger Parry MPAGB,ARPS,EFIAP,HonPAGB
e-mail: [email protected]
Tel: 0121 427 4224
_________________________________________________________________________________
Affiliated to the Photographic Alliance of Great Britain
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MCPF Print and PDI Club Championships
Roger Parry ARPS EFIAP Hon.PAGB DPAGB MPAGB
RULES 2015
Print Championship and DPI (Digital Projected Image) Championship
General Rules
1. The championships are open to all member clubs of the Midland Counties Photographic Federation.
2. Photographers may support one nominated club of which they are a bona fide member, in either championship
NB Clubs are asked to pay particular attention when any using the prints/digital files of a member known to have
been, or who is still a member of another club that has participated in the PAGB Print/Slide Club Championships.
3. The two highest placed eligible clubs in each section will be invited to represent the Federation in the relevant PAGB
Print/PDI Championship.
4. In the event of a tie the club with the greatest number of highly marked prints/digital files will take the highest placing.
5. Any print used in previously in the PAGB club print championship or a digital file used previously in the PAGB
club PDI championship is ineligible. Prints and PDI that have gained awards in previous MCPF championships
are also ineligible.
6. The MCPF cannot accept any responsibility for damage or loss to any entry.
7. No entry may be removed without the consent of the organisers. The Federation reserves the right to withhold from
public view any print/digital file, which in their opinion they consider to be offensive.
8. Each championship will consist of two rounds. Clubs may enter either one or both competitions. Each club to
enter 15 prints and or digital files in the first round of each competition, with not more than 3 prints/digital files from
any one author in each section and not more than 4 nature prints/digital files in each section.
10. Entries will be mixed and 3 judges will score in the range 2 to 5.
11. The clubs in the first eight positions in round one will proceed to round two, in which each club will enter:
10 prints/digital files, 5 of which may have been used in the first round with no more than 2 prints/digital files from
any one author and not more than 2 nature prints/digital files. The points from each of the two rounds will be added
together to decide the final placing. The first round of the DPI championship will be followed by the first round of the
prints with the final two rounds will follow after lunch.
Prints
12. Prints e and club. Nature prints must be marked Print mount size must not exceed 40 x 50 x 4mm
13. In round one of the print championships there must be at least a minimum of 5 monochrome and 5 colour prints
with the balance made up of either. The entry can contain a maximum of 4 nature prints, with not more than three prints
from any one author.
12. In round two of the print championship there must be at least 4 monochrome and 4 colour prints with the balance
made up of either, 5 of which may have been used in the first round. A maximum of 2 nature prints may be used and
no more than two prints from any one author.
For this championship the FIAP definition of Black & White will apply. Only un-toned or fully toned shall be
considered to be monochrome. Partial toning or the addition of colour shall render the work Colour.
.
DPI (Digital Projected Image)
13. Clubs are required to submit their image bank consisting of up to 40 files in the form of jpg with a file size of
1400x1050 on a CD by the date shown on the entry sheet. (1024x768 files can be submitted but they will project
smaller) (No entries can be accepted after this date)
14 The complete list of files that form the image bank, showing which files are to be used in the first round,
must also be submitted at the same time.
15. Nature Images are restricted to a maximum of FOUR in Round 1 and TWO in Round 2
16. Clubs must be willing to allow the higher marked prints and PDIs to be considered for use
by the Federation in the PAGB Inter Federation Championships.
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Cheltenham Camera Club 150 Years
Ian Gee FRPS FBIPP and Martin Fry FRPS APAGB
Cheltenham Camera Club reaches 150
and celebrates its distinguished founder.
clean drinking water to the town, the foundation
of a natural history society (1861) and in 1906, the
foundation of the museum which over a century later
bears his name.
The Photographic Society renamed itself
Cheltenham Camera Club in 1936. The only group
in town to have a continuous 150 years, it is the
sixth oldest such club in the UK, excepting London,
founded 1853 which became The Royal Photographic
Society.
One of the first of Dr. Edward Thomas Wilson’s
many significant contributions to Cheltenham was his
founding of the Cheltenham Photographic Society
on the 4th January 1865 along with his colleague at
the Cheltenham General Hospital, Dr. Abercrombie
who became President, while Wilson was Secretary.
For many decades Wilson’s accomplishments have
been overshadowed by his son Edward Adrian, also
a physician and a very talented naturalist and artist,
who perished with Scott near the South Pole in
1912 and for whom a memorial was erected on The
Promenade in 1914. This year with the opening of
a newly enlarged museum and art gallery Edward
Wilson senior received the recognition he deserves
as the new development has been named The
Wilson in acknowledgment of the contributions of a
distinguished family.
Edward Wilson learnt photography as a boy from
his uncle, Francis Frith, whose nineteenth century
photographs are still widely published today. Frith
travelled the country with a mobile darkroom
photographing street scenes. People had to remain
stationary for up to twenty seconds and Edward
appears in a number of these images. Afterwards he
would help with the processing in the horse drawn
darkroom. Coincidentally Frith’s earliest known
photograph of Cheltenham was later, also 1865.
Wilson and Abercrombie were early pioneers of
photomicrography, a difficult and time-consuming
procedure mid-nineteenth century, but Wilson
also photographed landscapes and portraits, made
easier after 1865 when the introduction of dry plates
rendered unnecessary the carrying on location of a
portable darkroom tent or alternatively, as Wilson
described “rig up my camera and then gallop the
distance to and fro on a fast pony.” Wilson was still
involved with the Society in the twentieth century.
Early years
Photography in the eighteen-sixties was a hobby
pursued mainly by the upper middle class: doctors,
clergymen, lawyers and in Cheltenham particularly,
military and naval officers who chose to retire
here. The membership seems to have been steady
at around forty-sixty during the latter years of
the century and it had several homes during this
period. By 1891 it rented premises in Bath Road
with facilities for developing and enlarging and
had a Lime Light Lantern (projector). There were
additional darkrooms at Rotunda Terrace, Oriel
Road and a ladies’ only darkroom in Clarence Street.
Out of a membership of 61, 9 were female. A studio
was also available in Oriel Road. Then as now,
instructional courses were held to assist members in
the many techniques of the period.
An exhibition held in 1896 in the Corn Hall
comprised 900 images according to a newspaper
report and many awards were presented. Surely they
cannot all have been prints? Probably just as today
we have both prints and projected digital images, so
our forbears entered prints and lantern slides.
Half time
Professional photographers were banned from
membership until the nineteen-thirties when rules
were changed enabling the town’s most eminent
photographer to join. Hugo van Wadenoyen FRPS
opened a portrait studio in Cheltenham having
previously worked in his father’s studio in Cardiff
Among his other achievements were the
establishment of a fever hospital, work on bringing
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and in London. He joined the Society in 1936, just
as it became the Camera Club. An amateur at heart
it is said he took more photographs for his own
enjoyment than he did professionally. A very prolific
national exhibitor, he also authored many books on
photographic technique, lectured and broadcast on
photography. He died in 1959 and in 1998 the Club
jointly sponsored with the Civic Society a blue plaque
which can be seen at 79 The Promenade.
Another long standing member was Eric Franks
whose book Images of Cheltenham recorded the
town during the years 1937-53.
Brownie cameras — “You press the button, we do the
rest.”
Our Sesquicentennial Celebration
Commemorating the centenary of the club in 1965
was virtually ignored. Twenty-six pounds was
collected from members towards a celebration but in
the end this was put into the general fund unspent.
For the one hundred and fiftieth anniversary the
committee has committed to celebrating in a positive
and distinctive way. Unlike 1865 when photography
was the preserve of the well-to-do, virtually everyone
over the age of about eight uses a camera almost daily.
Our aim this year is to demonstrate via a number
of exhibitions in the town that there is a lot more to
photography than selfies.
We are also publishing two books, one will depict
our town as it is today, and the other is a history.
These will be our legacy to our successors. Despite
the ease with which images can be stored on a
computer, we believe that books will be more likely
to endure.
In addition to regular lectures to our 150
members, we have planned talks and exhibitions
to which we invite a wider audience. We shall be
visiting Edinburgh not just to find new subjects
for our cameras, but to share our experiences and
photographs with members of the Edinburgh
Photographic Society which is just four years older
than our club. We shall replicate images taken on
our club’s first recorded outing to Raglan Castle.
Neighbouring clubs and twin town clubs overseas
will be participating in our competitions.
Twenty-first century
The beginning of the new century has seen the
biggest ever change in the technical process of image
recording with the introduction of digital imaging.
In 2000 all serious photography was still done using
film. In 2014 virtually all photographs are produced
digitally. Cameras have improved rapidly and prices
fallen. Printing can be done at home to the highest
standards thanks not only to the hardware, but also
the ever easier to use software.
Images can be despatched anywhere in the world
within seconds by phone; cameras can also be
operated from a phone. International competitions can
be entered with no more difficulty than club ones.
While prints are still extremely popular, projected
images using the latest projectors have become a
mainstream method of sharing pictures.
Manipulation of images to make ‘new pictures’
has become technically simple but it is not new. Our
Victorian forbears created pictures by combining
several negatives, expertly printed on one sheet of
paper. Just because now you can alter images readily,
it is all too easy to do so in a way that far from
enhancing the aesthetic value, actually decreases
it. Although much has changed since the day when
Edward Wilson founded our club, two essentials have
not. The photographer has still to learn how to use
his equipment and processes thoroughly, and the true
art of picture making with a camera begins in the
head — “point and shoot” may be the manufacturers’
slogan but it is no more a means to creativity than
George Eastman’s 1888 catchphrase for his Kodak
Cheltenham Camera Club
Meets weekly September to May
at Holy Apostles Church Hall, London Road,
Charlton Kings, Cheltenham, GL52 6HY.
Visitors are invited.
For further information see
www.cheltenhamcameraclub.co.uk
or email [email protected]
© Ian Gee FRPS FBIPP
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1875 Cheltenham Camera Club Raglan Castle
Dr. E. T. Wilson
At Sir John Packenham’s, (Left) E.T.. Wilson, Dr Abercrombie with tripod
(Founder member)
Hugo van Wadenoyen FRPS
Photoshoot 1920’s, Jean Krier centre, Michael Krier his son is a member of CCC
© Martin Fry FRPS APAGB
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Clifton Bridge E.T. Wilson 30 Aug 1870
Hugo van Wadenoyen FRPS Portrait of King George VI
Hugo van Wadenoyen FRPS Cheltenham Promenade
Thirsty Three 1930’s (Eric Franks ARPS)
Eating Fish and Chips Cheltenham 1940’s (Eric Franks ARPS)
Watching Hammond - Cheltenham Cricket Festival (Eric Franks ARPS)
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U N D E D 1907
JANUARY
1865
THE PHOTOGRAPHIC SOCIETY
A new Society has been formed in Cheltenham for the
benefit of those who are interested in the science and art of
photography. The Society will give its members the
opportunity to share and develop their knowledge of
photographic techniques as invented by Mr Henry Fox­
Talbot and M. Daguerre, so that members my make use of
photography for scientific study, documentary records and
artistic expression.
Meetings of the Society will include lectures by members
and visiting speakers in order to disseminate knowledge of
the processes, techniques and equipment required to make
the best photographs. Smaller groups with specialist
interests such as Studio work and technical advances will be
encouraged.
It is also intended that outings to places of interest will
be arranged. Sir John Packenham's, Raglan Castle and the
new suspension bridge at Clifton, Bristol have been
suggested.
The Society will also arrange for exhibitions of the work
undertaken by members in order to acquaint members of
the public with photography. The work of members may
also be subjected to constructive criticism and judgement by
other members and by experienced photographers from
other Photographic Societies.
It is the intention of the Society to seek premises to be
available for meetings and the establishment of a darkened
laboratory for members to
prepare and develop
photographic materials, to prepare photographic prints and
for the safe storage of the chemicals required. It is also
hoped that female members of the Society may be
encouraged by the provision of a darkened laboratory for
their own use.
Any person who is interested in becoming a member of
the Cheltenham Photographic Scociety is invited to contact
the Honorary Secretary, Dr. E.T.Wilson of 28, Montpellier
Terrace.
MAKING A PHOTOGRAPH
The photographer must be aware of the limitations of
the photographic process available to members at this time.
The sensitivity of photographic plates is increasing as the
materials used are being improved. However, it is still
necessary for the photographer to make provision to ensure
his subject does not move during the exposure, which may
typically be between 1 second and 30 seconds, depending
on the available light.
A studio for photographic work should have ample
daylight but also means to diffuse the light to ensure that
shadows are not too intense.
The photographic experimenter will also have noticed
that the plates prepared in the way described here are
sensitive to blue light only and that while it may be hoped
that this may be extended in future to include green light
and ultimately red light, so that the whole spectrum may be
covered, the photographer must be aware of the current
limitations.
It must be noted that red coloured subjects will be
rendered as black on the print, whereas blue subjects will be
rendered as white or light grey. A landscape with a blue sky
and clouds will be difficult to capture correctly, as the sky
will appear white when the land is correctly exposed. It is
known that photographers, such a M. G. Le Gray, in his
"Great Wave at Sete" have resorted to using two negatives to
achieve a satisfactory sky, a technique which can also be
used to create a montage of photographs.
PURCHASING A CAMERA
The keen photographer will wish to purchase the best
camera that his resources allow, such as that shown in
Figures 1 and 2. The camera is a simple device, consisting
of a lightproof box with a lens on the front and the means
to hold the photographic plate on the back. For focussing,
the plate holder may be replaced by a ground glass screen.
A means of adjusting the distance between the lens and the
plate is required to achieve accurate focus.
The lens may be covered by a cap which is removed for
the time assessed for correct exposure of the plate. A sturdy
tripod will be needed to support the camera during
exposure. When travelling, the camera may fold down and
be carried in a compact box with its tripod (Figure 3).
When focussing and framing the image, the
photographer will note that the image is reversed vertically,
a feature which he must learn to accept.
It is reported that a camera with a hinged mirror will
become available, such that the image is projected on to a
screen on the top of the box, where it will appear to the
photographer in the correct orientation.
The camera will be the subject of much development in
the future. It will become lighter and more portable and
make use of improvements in the process, the production
of plates and means of capturing the image, and in the
design of the camera features. It is even possible that one
day, photographers will no longer have to peer at a screen
on the camera to frame their pictures.
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JANUARY 1865
IN FOCUS
A METHOD FOR PHOTOMICROGRAPHS
Dr Abercrombie and I have been experimenting with
techniques for photgraphing microscopic objects. Here we
describe a method which may be set up in a photographic
chamber such as any type of sitting room.
A blackened wooden board, A, about 8 feet in length,
forms the baseboard which is mounted on a sturdy support
such as strong trestles. The focussing box of an ordinary
camera, B, with its focussing screen, the microscope, C, and
illuminating apparatus, D, being all kept in a straight line by
side strips of wood. The microscope is movable on a
sliding board and can be clamped at any distance, or the
camera box and microscope made to approach or recede
from one another singly or together. A couple of strips of
blackened wood, E, are attached to the eye­piece end of the
tube of the microscope, and slightly diverging to the top of
the camera. The whole of this part is covered with black
velvet, F, pile inwards, and well secured from outside lights
at all parts, especially round the tube of the instrument.
The focussing screen is of glass covered with collodion,
sensitised and covered with a solution of tannin. The draw
tube of the microscope, if any, is removed and the tube
lined with black velvet.
The microscope lens requires a small aperture in order
to create the optimum depth of field. Accurate focus is
difficult to achieve (due to chromatic aberration and the
difference between visual and actinic focus) and involves
some trial and error.
The time of exposure for wet collodion plates varies,
and should increase according to the colour of the object,
and the degree of enlargement. A tolerably light object,
magnified fifty diameters, may need ten minutes with an oil­
lamp. We have experimented with oxy­calcium light but
prefer to use burning magnesium wire, G. The former
requires a supply of oxygen, but the latter is difficult to keep
steady and a means needs be devised for burning the metal
uniformly and at a fixed point.
By placing a small vessel of warm water in the camera,
to keep the collodion plate moist by its vapour, we have
exposed plates forty minutes with success.
This apparatus is at present installed in my drawing
room at 28 Montpellier Place which I have converted,
furnishing it with a camera, the necessary chemicals, a
candle, a tripod stand, a steady table, a bucket, a jug and a
good supply of water and may be viewed by appointment.
Examples of the photographs made by this technique will
be on display when the Society meets at Parabola House on
January 8th.
In the uninterrupted quiet of a long winter’s evening, by
a comfortable fire the student of natural phenomena has
everything at his command, and is enabled to record with a
faithfulness otherwise unattainable many interesting
appearances which would otherwise be irretrievably lost.
Dr EDWARD T WILSON
SIR,
For twenty­four years I and a few select citizens have
exclusively been taking photographs but now our exclusive
position is about to be undermined.
Whenever I wish to go photographing my equipment is
loaded into the brougham and I head for the countryside.
While I fit up the camera my manservant erects the
darkroom tent. I then go into the tent, mix the chemicals,
load the darkslide and return to the camera. Following the
exposure, the plate is developed in the tent. Upon
completion the equipment is dismantled and I return home
for a well earned luncheon.
But now thanks to the misguided introduction of dry
collodion plates, any Thomas, Richard or Henry can carry
his camera and plates in a shoulder bag, jump on his pony
and visit two or even three locations before returning in
time for a game of croquet before lunch.
This is a deplorable situation and the thin end of a
wedge; before we know it, the servants will be wanting to
take photographs.
YOURS ETC., INDIGNANT, CHELTENHAM
SIR
The formation of a Photographic Society in
Cheltenham is a force for good. Children should be seen
but not heard and that requires discipline. One way of
instilling this in them is by getting them to sit absolutely
motionless. For a photograph they need to do this for about
half a minute, but they do not know that. The photographer
should pretend it is half an hour and ensure they remain
still for that period of time. With the formation of the new
club there will be many more photographers about, and in
taking pictures of children in the manner of Mr C. Dodgson
of Oxford, they will contribute to the education of the lower
classes.
CAPTAIN HOOK, R.N. (RET'D)
SIR,
I read the announcement of the formation of a
Photographic Society for Cheltenham with great foreboding.
It will result in widespread health problems, and I am
shocked that two respected physicians, Dr Abercrombie
and Dr Wilson are behind this and can only suspect an
ulterior motive.
It is well known that the chemicals used in photography
are extremely harmful when inhaled and are also injurious
to the skin when handled. If photography becomes
widespread our hospital will be flooded with patients. We
must prevent the formation of this new Society at all costs.
If elected I shall introduce a bill in Parliament outlawing the
chemistry.
YOURS ETC., KINGSLEY ILLJOY,
PARLIAMENTARY CANDIDATE FOR
CHELTENHAM
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Cheltenham Camera Cub: Our Sesquicentennial Year
citizens, founded a natural history society and later
the Museum, and was the father of the distinguished
Antarctic explorer Dr Edward A. Wilson, whose
death with Scott the town recognised with a statue in
1914.
He also described his early photographic
achievements leading very neatly to our first lecturer
of the evening, Roger Watson, curator of the Fox
Talbot Museum at Laycock Abbey, the family home
of William Henry Fox Talbot, one of photography’s
two inventors, the other being the Frenchman Louis
Daguerre. Entitled Capturing the Light the parallel
stories of their pioneering work is fascinating
because of their completely different characters, and
their approaches to their project. Can it really be said
photography had two inventors? Asked Roger. Yes,
he said, it often happens and cited numerous other
inventions. He concluded his talk just as photography
had been announced in January 1839 by Daguerre
in Paris and by Talbot in London. It would be good
to listen to Roger Watson again, and hear the next
sequence in this fascinating tale.
During the interval the audience was invited
to view the exhibits in the adjacent gallery. The
principal award — the best in show — at the club’s
annual exhibition is the Lloyd and Gregory Cup and
as many winning prints as could be resourced from
the last few decades were shown along with a few
other category winners. Looking at the display it was
interesting to see the variety of subjects, the different
treatments and the fact that so many different
members had achieved this ultimate accolade. Many
of course were from pre-Photoshop days. Speaking to
a few members, they all had their own choice of ‘best
of best’ and none of them agreed, other than to say
that extensive use of Photoshop is a useful tool, but
no guarantee to success.
Back in the auditorium ‘Dr Wilson’
announced The Victorian Peerless Magic Lantern
Show. We had already seen the lantern itself in
the rear stalls, a magnificent piece of Victorian
equipment fabricated in shiny mahogany and
gleaming brass, this was a double slide version,
effectively two projectors, one above the other.
Originally illuminated by gas or oil, it has been
converted to electricity enabling each part’s
For those of us who had been thinking about it and
preparing for it for weeks, months or even longer
January 8th 2015 had at last arrived. It was not just
the date of the first meeting after the Christmas
break, it was the first event of our Sesquicentennial
Year. Not only is our Camera Club one hundred
and fifty years old, it is the only cultural society in
Cheltenham with such a long continuous history and
it is the sixth oldest photographic society in the UK. The day we had been planning for had at last
arrived. What a relief to know that the weather was
going to be kind to us - no snow, no fog, no gales.
Not only were the two principal speakers travelling
from south of the Cotswolds, many of our invited
guests were coming from further afield. Sticking to our regular Thursday meeting
night, this was just one hundred and fifty years
and four days after the very first meeting of the
Cheltenham Photographic Society, and was very
different not only to that meeting, held in the private
house of one of the founders, but to our regular club
meetings in a church hall. Tonight we were in a stateof- the-art theatre with superb sound and lighting,
comfortable tiered seats, a very large projection
screen and bar facilities.
Without any introduction the house lights
dimmed to total darkness and the screen burst into
life with Big Ben striking midnight and heralding
the New Year with fireworks. 2015 had begun and
then in a fast moving creative AV we were swept back
150 years to the beginning of the Club. Alternating
images showed us world events, local events and
photographic gear of each corresponding era to an
ever changing sound track as we were transported
through a century and a half. As it came to its climax
and rapturous applause a Victorian figure entered the
spotlit stage. He told us that he was Dr Edward T. Wilson,
joint founder of the club and fascinated the audience
with an account of his many contributions to our
town. We are fortunate in that our illustrious forbear
not only began our club, to which he remained loyal
throughout his life, but established a fever hospital
in the town, brought clean drinking water to the
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illumination to be brightened or darkened by a
dimmer, rather easier for the operator than in the
days of the afore mentioned fuels.
‘Professor’ Mervyn Heard presents the show
as a one man band and must often wish he had more
hands. In the days before cinema the only action on
a screen was via the magic lantern and the Victorians
were certainly inventive: some slides had secondary
images that revolved within the mount, others had
a secondary image that could be slid into the gate
thus being superimposed over the first. Combined
with a second projector (integral in this case)
additional moving images could be added. Mervyn
demonstrated an assortment of original slides, many
from before the days of photography when all the
images were hand painted. Once photography was
available the selection of subjects increased to include
views of far away lands, and picture stories rather like
comic strips, posed by ‘actors’, often in front of badly
painted backgrounds.
Apart from having to be ambidextrous,
Mervyn continued his commentary fluently
throughout with a burst of singing at one point, an
epic performance, which was much enjoyed by his
twenty-first century audience.
He finished with a classic favourite, a slide
of a man snoring; as he snores he opens his mouth
and a rat runs up his body into the open orifice.
The Victorians may not have experienced the age of
electronics but they certainly lived in and enjoyed to
the full the age of mechanical invention.
The evening concluded with the Treasurer
and a Trustee of the Royal Photographic Society,
which is twelve years older than us, Geoff
Blackwell, thanking the Club for putting on such an
entertaining evening, congratulating us on achieving
150 years and declaring our sesquicentennial year
well and truly started!
The celebratory aspect of the evening was
enhanced by about twenty members who hired
Victorian costumes of great variety and colour
and at the conclusion great fun was had when
they assembled on the stage for an impromptu
photoshoot. Earlier in the day BBC West came and
filmed Martin Fry (in costume) and actor Andy
Meller (who played Dr Edward Wilson) and this
was shown on BBC Points West just before 7.00pm.
Also included was Roger Watson, filmed earlier at
Laycock. BBC Radio Gloucestershire had featured
an interview with Martin a couple of days earlier,
and the local daily paper, The Gloucestershire Echo
carried an illustrated feature a few days after, all
this publicity drawing attention to the club and its
achievements both in the past and in the present.
The Club can claim a triumphant
commencement to its sesquicentennial year, but
this successful start did not happen by chance.
We had a team of enthusiasts, each responsible
for different items. Martin Fry, one of our longest
serving members and an acknowledged expert in the
world of AV (as well as other areas of photography)
made the opening sequence to set the scene, and
was also the overall leader of the team. Others were
responsible for overseeing the technicalities of the
proceedings, hanging the exhibition, publicising the
event, organising the team of stewards and managing
ticketing, issuing invitations to VIPs, book and
commemorative mug sales and not least, catering for
all the helpers,
Parallel to the preparation for the evening,
another member, Sandie Prowse had been working
on one of our major efforts of the year, the
publication of a book to be launched on the evening.
With chapters written by several members, the book
tells the story of photography in Cheltenham from
its first professional studio (less than six months after
the first in Europe, in London, through the formation
of the Cheltenham Photographic Society in 1865 to
the present day. Needless to say sales on the evening
were brisk.
Publishing this book was one of the major
objectives of the 150 Committee as we felt we
wanted not only to enjoy our anniversary, but to
leave a legacy for our successors in a tangible form
and despite this being the age of electronic archival
storage; we know that books can have long lives if
kept appropriately, and copies are being placed in
various archives.
Copies are available for purchase £10 inclusive of
p&p.
Please contact [email protected]
© Ian Gee FRPS FBIPP
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Roger Watson - Curator of Fox Talbot
Prof. Mervyn Heard with his Magic Lantern
Andy Mellor as Dr. Wilson
Capture the Moment 08.01.2015
© Martin Fry FRPS APAGB
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General Secretary
Mary Jenkins APAGB
MCPF Guide and Directory 2014
Update 5
Recent changes since 23rd December 2014
Burton Latimer and District Photographic Society
Disbanded as from 10th December 2014.
Grange Photographic Society
Please address all correspondence to the Chair
Joanne Sutton, 2 Roman Road, Stoke, Coventry, CV2 4LD
Telephone: 02476 442 890
Email:
[email protected]
Great Barr PS New secretary
Margaret Williams, 29 Shelton Close, Wednesbury, WS10 0TZ
Telephone 01215020309
Email: [email protected]
Wolverhampton Photographic Society
Please address all correspondence to the Chairman
Gwynneth Chubb, 87 Castlecroft Road, Finchfield, Wolverhampton, West Midlands, WV3 8BY
Telephone 01902 761354
Email: [email protected]
27.01.15
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General Secretary
Mary Jenkins APAGB
MCPF Events 2015
And other notable dates
MCPF General Meeting
Saturday 7th February 2015
***Please note the earlier start time at 2.30pm***
Doors are open at 1.30pm
The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS
For information contact General Secretary Mary Jenkins
[email protected]
Also this is the closing date and hand in for MidPhot
Any queries contact Lucia and Ralph Duckett ... [email protected]
Saturday and Sunday
14th &15th February
MidPhot Selection
Wednesday to Sunday
25th to 29th March
MidPhot Exhibition of Midland Photography
The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS
Saturday 25th April
MCPF print and PDI Championship
Civic Centre, Braunstone, Leicester
Contact Roger Parry
[email protected]
Friday 1st May to
Sunday 3rd May
Midland Salon Selection
Contact Judith Parry [email protected]
Thursday 7th May
Closing date for Photofolio
Enquiries please contact Photofolio Liaison Officer
Judith Parry [email protected]
Sunday 10th May
Photofolio Selection
Wednesday 3rd June
Opening of Photofolio
The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS
For information contact Judith Parry [email protected]
Wednesday 3rd June to
Saturday 6th June
Photofolio is open for 4 days
The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS
For information contact Judith Parry [email protected]
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General Secretary
Mary Jenkins APAGB
MCPF Events 2015
And other notable dates
Saturday 6th June
MCPF Annual General Meeting
For information contact General Secretary Mary Jenkins [email protected]
Close of Photofolio
Saturday 13th June to
Sunday 21st June
Midland Salon open for 9 days
More information to follow
Saturday
11th July 2015
PAGB Inter-Club PDI Championship Arts Centre, Warwick University
Details to follow
Saturday 5th September
To 18th September
FIAP Colour Print Biennial on display at
The Old Schoolhouse, Churchbridge, Oldbury, West Midlands, B69 2AS
Sunday 18th October
Judges Seminar
Saturday 24th October
PAGB Inter-Federation Print Championships
Venue details to follow
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PAGB Awards for Photographic Merit (APM)
David Venables DPAGB
The adjudication at Kegworth has now been completed and I have just received the
results.
I am pleased to report that 12 candidates from the MCPF have been successful in
obtaining a CPAGB.
A total of 4 candidates have obtained their DPAGB
We have had 3 candidates who have been successful in obtaining their MPAGB of
which one was our very own Roger Parry
There is a further closed adjudication being held in Dumfries, and I am hopeful
that we will have more candidates from this area being successful in obtaining their
awards.
Certificates will be with us for presentation at the end of January and will be presented at a future General Meeting.
David Venables DPAGB
Awards Officer
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‘A sense of Britain’
Compton Verney
Photographic Competition
The Photography Hub
As part of the Martin Parr exhibition, Compton Verney will be providing a space called The
Photography Hub on the ground floor of the gallery.
Within The Photography Hub we will be showing selected works submitted to a new photographic
competition. Photographic clubs/groups are invited to submit works from their members on the
theme ‘A Sense of Britain’. This theme has been chosen as both of our 2015 spring exhibitions
address the theme of ‘Britishness’ in two quite different ways: photography by Martin Parr and
paintings by Canaletto depicting British landscapes and architecture.
The Photography Hub will be open for use by photographic clubs / groups for meet-ups and
discussions about their own photography and other photographers’ works with fellow members.
There is also the opportunity for you to show information about your club / group or events, and
anything else photography related which might be of interest!
The Photography Hub will be open Tuesday, Wednesday and Thursday between 11am and 5pm
(Please note: The Photography Hub may be open on select weekends please call 01926 645 500
at least a week before your visit to enquire.)
Competition details
Calling all Photographic clubs / groups
We are looking for 30 photographic clubs / groups to enter our competition. If interested
your club / group must indicate your expression of interest by completing the application
form attached and returning it by email or post (details below) by 5pm on 22 February 2015.
Please send your completed forms to :
[email protected]
Flora Cranmer-Perrier, Programming Officer
Compton Verney Art Gallery, Compton Verney, Warwickshire, CV35 9HZ
If your club / group have been successful you will be notified and must hand delivered or post
your submissions to arrive by 4pm on 6 March 2015.
Emails with attachments cannot be accepted
Submissions should be addressed to:
Penelope Sexton, Curator or Flora Cranmer-Perrier, Programming Officer
Compton Verney Art Gallery, Compton Verney, Warwickshire, CV35 9HZ
Submission criteria
Each submission may be a single print or a pane
Each club / group can enter a maximum of 6 submissions
Overall size (including mount) must not exceed 40cm by 50cm in portrait or landscape
format
Submissions must be card mounted only, framed prints will not be accepted
Clubs / groups must provide, name, date, title of each print, details of the photography
club/group including contact email, phone number and address. Forms to list this detail
are in the successful entrants’ packs
Compton Verney, Warwickshire CV35 9HZ
Tel: +44 (0)1926 645 500
Fax: +44 (0)1926 645 501
www.comptonverney.org.uk
Supported by
Registered charity no. 1032478
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‘A sense of Britain’
Compton Verney
Photographic Competition
Display restrictions
Club / group works will be displayed together
Visual display method will be at the discretion of the curator
We will only be able to show works from 30 photographic club / groups. These will be
selected on a first come first served basis
Each club/ groups works will be on display in The Photography Hub for approximately 2
weeks whilst the Martin Parr exhibition is on display
Clubs / groups will be informed when their works will be on display
Prints will be displayed in The Photography Hub at the owners’ risk.
Competition voting
From each 2 week display, the public will vote for their favourite work. From this shortlist, the
winners will be chosen by a select committee. There will be one overall winner and runners up.
What you’ll win
The competition winner and runners up will be announced on Monday 1 June. Their works will
be on display in The Photography Hub during the final week of the exhibition.
The Prize is a Compton Verney certificate and family membership (for 2 adults, up to 4
children, worth £60), valid for 1 year during our open season
Print return will be arranged with the groups after the 14th June 2015.
Need more information?
For competition queries please contact Marc McGlen, Membership Secretary Wellesbourne Photo
Group (WPG) at [email protected]
Exclusive Ticket Offer for Photography Club/Group Members:
Pre-book your group visit and save up to £9 per person
We will offer discounted admission to Compton Verney at £6 per head and a free upgrade to our
exhibition ticket enabling your group to visit the Martin Parr exhibition.
PLUS
Free ticket for group organiser
Welcome on arrival
Discount in the shop
Priority entry (no queuing) or early opening can be made by arrangement
UPGRADE YOUR VISIT BY ADDING
1 hour tour of collection or exhibitions at £3per person
Pre-booked discounted catering is available (morning coffee, lunch or afternoon tea)
Offer terms and conditions
For a group of a minimum of 15 people
Group must be pre-booked please contact Emily Medcraft on
[email protected] or 01926 6455 516.
Compton Verney, Warwickshire CV35 9HZ
Tel: +44 (0)1926 645 500
Fax: +44 (0)1926 645 501
www.comptonverney.org.uk
Supported by
Registered charity no. 1032478
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Photographic Clubs / Groups
EXCLUSIVE TICKET OFFER
PLEASE PRINT CLEARLY IN BLOCK CAPITALS
Club / Group Name:
Officer’s Name
Position in Club / Group
Contact Address:
Postcode:
Tel Number (inc. dial code):
Mobile:
Email Address:
Signature:
Date:
1. My Club / Group wishes to submit up to 6 entries into the Compton Verney
‘A Sense of Britain’ Photographic Competition to be on display in The Photography
Hub between 14 March and 7 June 2015
2. I understand that only the first 30 Clubs / Groups submitting this application form to
express an interest in participating qualify for entry into the competition
3. I understand there is not an entry fee for this Compton Verney Photographic
Competition
4. I further understand that the actual accepted submissions must be received by
Compton Verney by 4pm on 6 March 2015. Submissions after this time will not be
displayed or included in the competition.
Please send your completed form to:
[email protected]
Flora Cranmer-Perrier, Programming Officer
Compton Verney Art Gallery, Compton Verney, Warwickshire, CV35 9HZ
This form must be received by Compton Verney by 5pm on 22 February 2015.
The information in this form will not be shared with third parties
Compton Verney, Warwickshire CV35 9HZ
Tel: +44 (0)1926 645 500
Fax: +44 (0)1926 645 501
www.comptonverney.org.uk
Supported by
Registered charity no. 1032478
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WREKIN ARTS PHOTOGRAPHIC CLUB PRESENTS A Full Day Digital Workshop with LIBBY SMITH, MPAGB,APAGB,EFIAP,BPE3* Sunday February 22nd 2015 at10:30am Belfrey Arts Centre ,Princes Street, Wellington, Telford TF1 1JG §  Raw conversion to mono and colour •  HDR : Layers and masks •  Paper choices for prinLng •  Tickets £20 inc.tea ,coffee & biscuits. Please bring a packed lunch. contact Sheila Thomas, 5,Ashmore drive, Trench, Telford.TF2 7EN Tel-­‐01952 617170 Email [email protected] 26
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Vale of Evesham Camera Club – National Digital
Internet Exhibition Photo2015
Accepted images on website from 10 April 2015
Vale of Evesham Camera Club proudly announces the
staging of our 26th Annual and 17th National Exhibition
which has both BPE and PAGB patronage.
The Exhibition is open to 4 Digital Categories:Colour Images
Experimental/Creative Images
Monochrome Images
Natural History Images
SELECTORS:Sandy Cleland FRPS, AFIAP:
Experimental, Mono, Natural History
Karen Berry FRPS, AFIAP:
Colour, Mono, Natural History
Peter Gennard MFIAP, EFIAP/p:
Colour, Experimental, Natural History
Peter Rees FRPS MPAGB EFIAP/p BPE5*:
Colour, Mono, Experimental
photo
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esham ic Exhibi
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The Ved to the Br Awards
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Affiliat
KEY DATES:-
Last date for Entries:
Wednesday 25th February 2015
Selection: Saturday 7th and 8th March 2015
Accepted images will be viewable on the
exhibition website www.eveshamphoto.net
from 10th April 2015 until the following years’
exhibition.
(Peter Rees replaces Graham Hodgkiss due to Graham's forthcoming hip operation.)
Entry can be made easily online, our preferred option, or entry forms downloaded for postal CD entry from the
exhibition website www.eveshamphoto.net. (Please note new website address)
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The Fosse
Co-op Camera Club
INTER CITIES PROJECTED IMAGES COMPETITION 2015
This will be held in our usual venue
St Peter’s Church Centre, West Holme Street, Leicester, LE3 0TA
At our Evening Exhibition Event
Saturday 28th February 2015
17 Clubs have been invited to take part, and it should be a really good evening
The judge for this year is David Gibbins ARPS APAGB AFIAP
Programme is expected to be:
(All times are approximate)
7.30pmDoors open
7.45pm
Official Welcome followed by Part 1 of Inter Cities Competition
8.15 to 8.30pm
Break for refreshments and Viewing of prints
9.00pm
Showing of Audio Visual and Fosse Images, followed by
Part 2 of the Inter Cities Competition
9.45 to 10.00p
Draw Raffle
Summing up by Adjudicator,
Award of Trophy, Medal and Certificates
Enquiries to: Mary Stapps
32 Norfolk Road
Desford
Leicester
LE9 9HR
Honorary Secretary
Telephone: 01455 824039
Mobile: 07828675695
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OLD BIRMINGHAM in 3D
Saturday 7th March 2015 – 2:30pm
The Stereoscopic Society – Coventry
St Barbara's Church Hall, 24 Rochester Road, Earlsdon, Coventry, CV5 6AG
FREE Entrance for First time visitors, normally £2.50 including refreshments.
Please join us to see projection of 3D photographs of Birmingham around the 1960s and
reminisce about what has come and gone and where you used to go.
Our meetings use cinema-like large screen 3D projection, providing a glimpse into the
history of Birmingham in three dimensions, just like being there in the past.
Some of the amazing 3D images include:
Building the Rotunda
1960s reconstruction New Street Station
Christmas illuminations
Canal scenes
Shop windows at night
General views around the city
In the first half of the meeting members of The Stereoscopic Society will show how they
create modern 3D videos. Making your own 3D Videos to view on a 3D TV has come of age
and is easily achievable with the 3D camcorders and software now available.
For further details contact:
Bob Pryce : 024 7641 8239
[email protected]
www.StereoscopicSociety.org.uk
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AFFILIATED TO THE PHOTOGRAPHIC ALLIANCE OF GREAT BRITAIN THROUGH THE MIDLAND COUNTIES PHOTOGRAPHIC FEDERATION SOUTH BIRMINGHAM ‘IMAGE 15’ BPE DIGITAL EXHIBITION PAGB Patronage and BPE Accredited Exhibition FIAP rules apply ***************** Our Judges are: John Cartlidge EFIAP/p APAGB BPE4* Bob Dennis CPAGB AFIAP APAGB Mike Edwards ARPS BPE5* There are four categories to enter: Colour Images (COL) Monochrome Images (MON) Natural History Images (NH) Portraits Colour/Monochrome (PORT) Exhibition entries, via South Birmingham website preferred, but may also be posted on CD. Payment via PayPal preferred, cheques accepted. Full entry details on our website. The Exhibition Calendar 2015: 12th January first date to enter your DPI’s 22nd March last date to send your DPI’S 11th and 12th April Judges’ selection 19th April Exhibition results will be sent out 25th April South Birmingham Exhibition Day (free entry for participants) Awards: PAGB Gold, Silver and Bronze Medals PAGB Ribbons for Highly Commended BPE Judges Awards in all categories Website: www.southbirminghamphotographicsociety.co.uk 31
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The JJrney
an evening with KT Allen
I did not start my path in the amateur world by conventional means. It
was a rough and emotional start that threw me into an amazing
journey both personally and at club level. I hit the ground running, yet
beneath it all there is just a creative worker wanting to visually express
thoughts and emotions. This talk is about the journey starting in club
photography and the difficulties of the hobby as a creative worker.
28th April 2015 @ 7.30pm
The Arthur Findlay Centre,
Cooperative St. Stafford ST16 2RS
Members £2.00 Visitors £5.00
www.staffordphotosociety.org.uk
Limited places available
To reserve a seat please contact Janet Stubbs at: [email protected]
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Cotswold Salon
The National Exhibition of Monochrome Photography
is celebrating the 20th Anniversary of the exhibition.
Photo by Michael Windle ARPS
All UK photographers are invited to submit a
monochrome print entry by the closing date of
Friday 29th May 2015.
Entry forms and conditions may be downloaded from
http://cotswold-monochrome.co.uk
The exhibition will be held at
Blackfriars Priory, Gloucester
Thursday 23rd July to
Sunday 26th July 2015
10am to 5pm
Visit http://cotswold-monochrome.co.uk for full details
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MCPF Newsletter Editor
Roger Barker LRPS
Get your Club Events, Exhibitions and Information
into the MCPF Newsletter
email your Information to: [email protected]
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