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Patron: Graham Dainty
Office Bearers:
President: Ian Smith
Vice President: David Tose
Past President: Stephanie Forrester
Secretary: Liz Collett Treasurer: Debbie Main Committee Members: Phil Melgren, Rosemary McGeachie, Barbara Lee, Les Ladbrook, Val Wardell
Editor: Rosemary McGeachie
Southland Photographic Society http://www.southlandphotographicsociety.com
May 2017
Southern Exposure
Meetings held at Age Concern Rooms in Forth Street, Invercargill at 7.30pm on the first & third Thursday of each month. Mini Workshop: Astro
Photography
Check your emails for more information
7pm. Camera Basics
Results: C Grade (3)
Images as Prints: Mark Phillips
Objet d’Art: Changeover
Close: Open A, B & C Results: Open (3) A&B Grades Processing Tips: Local Adjustments
Her vocabulary was as bad as, like, whatever.
A father was approached by his small son who told him proudly, "I know what the Bible means!" His father smiled and replied, "What do you mean, you 'know' what the Bible means? The son replied, "I do know!" "Okay," said his father. "What does the Bible mean?" "That's easy, Daddy..." the young boy replied excitedly, "It stands for 'Basic Information Before Leaving Earth.'
Supper Duty for Meetings
6 July: Rick Harvey, Annie Carmichael
20 July: Donna Corbin, Sharon Cooper
20 July
An enjoyable evening which saw us watching the results for PJ round 2. Dave Wethey's comments were very thorough and informative. This was followed by a very interesting travel talk by Dave and Debbie of their trip to Italy last year. Their travel tips were very instructive and interesting. Ian Smith
A passenger in a taxi tapped the driver on the shoulder to ask him something. The driver screamed, lost control of the cab, nearly hit a bus, drove up over the curb, and stopped just inches from a large plate glass window. For a few moments everything was silent in the cab, then the driver said, ‘Please, don't ever do that again. You scared the daylights out of me.’ The passenger, who was also frightened, apologised and said he didn't realise that a tap on the shoulder could frighten him so much, to which the driver replied: ‘I'm sorry, it's really not your fault at all. Today is my first day driving a cab. I have been driving a hearse for the last 25 years.’
15 June
6 July
29 June
Art Gallery Exhibition for A Graders
Recently, an email went out to all club members, canvassing A Grade members who might be interested in becoming involved in an exhibition of their images at one of two art galleries. Response to date to this email, from members outside of the Committee, can at best be described as muted. There is, however, a sufficiently large group of people who are very keen to make this exhibition happen, and if there are others who want to be part of it, could you please indicate your interest by way of an email to Liz Collett.
There is plenty of enthusiasm, but for this project to get off the ground it really needs someone to put their hand up and commit to leading it, which would not be a big job as most of the groundwork has already been done. Time is running out and decisions need to be made.
Ian Smith - President
‘I believe in equality for everyone, except reporters and photographers.’ ― Mahatma Gandhi
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‘Close clip’ - Accepted
Natural History (2) Projected Images A Grade Phil Melgren ‘Bellbird’ - Accepted ‘Jewelled Gecko’ - Honours Chris Watson ‘Banded dotterel’ - Honours ‘Grey warbler’ - Accepted
B Grade Annie Carmichael ‘Weta shedding its exoskeleton’ - Accepted Liz Collett ‘southern black billed gull Larus dominicanus Lichtenstein and Crayfish body’ - Merit Les Ladbrook ‘Fantail_piwakawaka’ - Honours ‘Kereru’ - Accepted Barbara Lee ‘South Island Fantail’ - Honours ‘South Island Robin’ - Accepted Stephanie Forrester ‘Weka - Gallirallus australis’ - Accepted Dayle Wright ‘Haematopus unicolor’ - Merit
C Grade Richard Adams ‘Armillaria novaezelandae’ - Accepted David Clearwater ‘Amarita muscaria’ - Honours Liz Collett ‘Red-billed gull Larus novaehollandiae’ - Accepted Kat Smith ‘Apple Blossom’ - Accepted ‘Pied Shag ‘ - Accepted Ian Smith ‘Hemiphaga novaeseelandiae’ - Accepted Shane Todd ‘Tuatara’ - Accepted Val Wardell ‘Gannet in flight with nesting material’ - Merit David Watson ‘Nesting Banded Dotterel’ - Accepted
Prints A Grade Rosemary McGeachie ‘Australasian Pied Stilt (Himantopus l eucocephalus)’ - Accepted
Photojournalism (2) Projected Images Peter Aalders ‘ready to roll’ - Merit Annie Carmichael ‘I'm Forever Blowing Bubbles’ - Merit ‘Slip Sliding Fun’ - Accepted David Clearwater ‘Bird races car.-’ - Merit ‘Luis Leeds wet practice’ - Accepted Chris Duggan ‘Mud Face’ - Merit ‘The Head High’ - Honours Allison Evans ‘Kapa Haka Kid’ - Honours Anita Hayman ‘Just a little scratch’ - Accepted ‘Lambs first shear’ - Accepted Barbara Lee ‘Getting dressed for action’ - Accepted Rosemary McGeachie ‘At the Turn’ - Accepted ‘Hot Competition’ - Accepted Bill Shieffelbein
‘2016 Tour of Southland Peleton Leaders Day Five’ - Accepted Ian Smith ‘Gypsy Fair Entertainer’ - Honours ‘Keep Smiling’ - Merit Kat Smith ‘Hang Tight’ - Accepted Shane Todd ‘Summer Fun’ - Accepted Chris Watson ‘Last Leg’ - Merit ‘Running the line’ - Merit David Watson ‘Atten-Shun’ Honours ‘Yeah-Right’ - Accepted Dayle Wright ‘Cementing the dream’ - Merit ‘Living dangerously’ - Merit
Prints Chris Duggan ‘Into the Rain’ - Accepted ‘The Hose down’ - Honours Rosemary McGeachie ‘Here we come!’ - Accepted ‘Round the bend!’ - Accepted Chris Watson ‘Final Peg’ - Honours ‘Full Power’ - Merit Dave Watson ‘Up-And-Under’ - Merit ‘Honeypot’ - Accepted Anita Hayman ‘No it doesn't hurt’ - Accepted
Results ‘White-faced Heron(Ardea novahollandiae)’ - Accepted
B Grade Dot Mullay ‘Fantail’ - Accepted ‘Tui’ - Accepted Sr Maria ‘Kingfisher’ - Accepted ‘Kotuku’ - Accepted Chris Watson ‘Australian Grebe & Chick’ - Honours
C Grade Liz Collett ‘Red-billed gull Larus novaehollandiae’ - Accepted A blonde got lost in her car in a snowstorm. She remembered what her dad had once told her. ‘If you ever get stuck in a snow storm, wait for a snowplough and follow it.’ Pretty soon a snowplough came by, and she started to follow it. She followed the snowplough for about 45 minutes. Finally the driver of the truck got out and asked her what she was doing. She explained that her dad had told her if she ever got stuck in the snow, to follow a snowplough. The driver nodded and said, ‘Well, I'm done with the Wal-Mart parking lot, so now you can follow me over to K-Mart.’
The Buffalo Theory. A herd of buffalo can only move as fast as the slowest buffalo. And when the herd is hunted, it is the slowest and weakest ones at the back that are killed first. This natural selection is good for the herd as a whole, because the general speed and health of the whole group keeps improving by the regular killing of the weakest members. In much the same way, the human brain can only operate as fast as the slowest brain cells. Excessive intake of alcohol, as we know, kills brain cells. But naturally, it attacks the slowest and weakest brain cells first. In this way, regular consumption of beer eliminates the weaker brain cells, making the brain a faster and more efficient machine! That's why you always feel smarter after a few beers.’
A man and his wife were having an argument about who should brew the coffee each morning. The wife said, ‘You should do it, because you get up first, and then we don't have to wait as long to get our coffee.’ The husband said, ‘ You are in charge of cooking around here and you should do it, because that is your job, and I can just wait for my coffee.’ Wife replies, ‘No, you should do it, and besides, it is in the Bible that the man should do the coffee.’ Husband replies, ‘I can't believe that, show me.’ So she fetched the Bible, and opened the New Testament and showed him at the top of several pages, that it indeed says.......... ‘Hebrews’
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How a Short vs Long Exposure Will Affect Your Landscape Images
The shutter speed is probably the factor which has the greatest impact on an image. By adjusting the exposure time by only a few stops, you’re able to completely change the appearance of an image. But what exposure time is best for landscape photography? Should you use a long exposure or should you work with shorter ones? When will adjusting the shutter speed have the greatest impact? I don’t believe that either is better than the other (in each case) but it’s important that you’re aware of the differences so it becomes easier to convey the story or emotions you desire. What is a Long Exposure? The definition most of my photography friends have agreed upon is that a long exposure begins when you can’t take a sharp image handheld. Normally, this is at about 1/50th of a second with a wide angle lens. Waterfalls Waterfalls are often ideal to start experimenting with long exposures. Since the water is moving quickly, you don’t need an extremely long exposure just to capture some motion. In fact, you’ll need a very quick shutter speed to avoid capturing any motion at all. The choice of shutter speed has an extremely high impact on the image. You might not even need a filter to begin capturing the motion of water in your shots. However, I find waterfalls to be tricky to photograph at times because of this. The different shutter speeds have such a big impact that the entire mood (and story you tell) of your image quickly changes. So, consider what you wish to convey. If it’s a huge waterfall with a lot of power you might want to use a quick shutter speed to capture its raw power and beauty, while a smaller waterfall might be more appealing when you use a slow shutter speed (long
exposure). Experimentation is always the key when working with shutter speeds.
For the image above, I chose to use a shutter speed slow enough to require the use of a tripod but not so long that the water would become completely blurred. The textures in the water help build the overall atmosphere of the image and it complements the rawness. By keeping some texture in the water, I’ve also
strengthened the composition. When a longer shutter speed was used (see below), many of the lines in the foreground were lost and the flow wasn’t as natural anymore. When lengthening the exposure time to 20-seconds, the image lost a lot of its raw and natural feel, which was what I wanted to convey. Now, the image has an unnatural appearance and even though it’s still visually pleasing, it’s not as interesting anymore. A long shutter speed wasn’t ideal since the river was flowing so quickly. Had the water been slower, a 20-second exposure might have done a better job. So, when photographing a waterfall make sure that you keep in mind how quickly the water is flowing, as this will have a great impact on your choice of shutter speed. Had I used a faster shutter speed than on the first image (for example 1/500th) the image would have a different impact yet again. Such a quick shutter speed would freeze most of the water and remove the sense of motion shown in the first image. Instead, there would have been a lot of texture in the water but no movement to compliment it. That would have resulted in a messy
and, again, less appealing image. Seascapes When working with images that have more than one moving element (for example the sky and the water), you’ve got multiple factors to consider when choosing a shutter speed. Not only will the choice of shutter speed determine
how the sky appears but it’s also crucial for the appearance of the water. In fact, since the water is what’s moving the quickest, that is where you’ll see the biggest difference (just as with the waterfalls). For the image above, I used a shutter speed of 0.6 seconds. In the grand picture of long exposures this is still a relatively short shutter speed, and for some, it doesn’t even qualify as a long exposure. However, despite the shutter speed being only 0.6 seconds, there’s quite a lot of motion in the image. Since the waves were coming in fast the camera was able to register a significant amount of motion within that short time. Personally, I’m a big fan of exposures between 0.5 seconds to 1.5 seconds when photographing seascapes (especially when using a low perspective like this). The
shutter speed is long enough to capture the motion but it’s also fast enough that there’s still a lot of texture in the water. The lines that come as a result of the slow shutter speed do a significant job in improving the composition. In the second image, I increased the exposure time to 30 seconds, allowing the camera to register motion for a longer period of time. As you can see, the texture that was the previous image is lost and the water has completely changed
Life is like a camera… Focus on what’s important Capture the good times Develop from the negatives And if things don’t work out
- Take another shot
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Continued from Page 3
first seascape. By using a 30-second exposure the camera has also registered motion in the clouds, resulting in a more dynamic sky. When the clouds are dragged across the sky, such as above, you’ve got an extra factor to consider for your composition. In this scenario, the clouds are moving towards the horizon, creating a series of extra lines that help lead your eye through the image. Often this can be a great advantage. I don’t believe that one is necessarily better than the other but, again, it’s important to understand how the choice of shutter speed (exposure time) will impact the image. When working with a slow shutter speed you’re introduced to several new factors (such as the helpful leading lines in the sky) and being aware of them will make the process of learning long exposure photography easier. Summary and Conclusion There’s no ‘correct’ way of doing it, and in the end, which image you prefer depends on what you’re looking for in your image. However, as I’ve mentioned multiple times, it’s extremely important that you understand how a longer or shorter shutter speed will impact the image. By understanding this, you’ll be able to save a lot of time in the field and ultimately create better images. Remember, a slower shutter speed can affect the appearance of an image when there’s more than one moving element within the frame. A slow shutter speed is not going to make a difference when there are no moving elements.
Christian Hoiberg
Adapted from: http://digital-photography-school.com
Inside a bar, a sailor and a pirate are talking about their experiences, the pirate have a wooden leg, a metal hook on his right hand, an eye patch on his right eye. Sailor asked why you have a wooden leg? Pirate ‘Shark bitten my legs off...’ Sailor asked why you have a metal hook? Pirate ‘Lost it during fights...’ Sailor then asked about the eye patch... Pirate ‘Because a seagull dropped some droppings into my eye...’ Sailor was shocked ‘You mean the droppings made you blind??’ Pirate ‘That happened on the same day after I have the metal hook attached to my arms for the first time’
‘While there is perhaps a province in which the photograph can tell us nothing more than what we see with our own eyes, there is another in which it proves to us how little our eyes permit us to see.’ ― Dorothea Lange
‘A photographer is like a cod, which produces a million eggs in order that one may reach maturity.’ ― George Bernard Shaw
‘To consult the rules of composition before making a picture is a little like consulting the law of gravitation before going for a walk.’ ― Edward Weston
‘To photograph: it is to put on the same line of sight the head, the eye and the heart.’ ― Henri Cartier-Bresson
‘If only I had thought of a Kodak! I could have flashed that glimpse of the Under-world in a second, and examined it at leisure.’ ― H.G. Wells, The Time Machine
Planning your Photographic Composition Ask yourself some of the following questions quickly before taking a shot and you might just find the results are a step up in quality than if you’d just randomly filled your camera with images:
• What is the subject of this pho-to?
• Is there more than one subject? If so would it be better to capture them with multiple shots? • What is the mood of the moment?
• What is going on in the back-ground of this shot?
• Do I have time to pose my sub-ject (and is it appropriate to do so) or do I need to shoot fast?
• Is the place I’m shooting in light or dark?
• Who else is taking photos of this subject? What angles are they tak-ing shots from (sometimes they can give you ideas of what shots to take and sometimes they can give you hints as to what images EVERY-ONE is taking and inspire you to do something different)?
• Is my subject moving or still?
• Are there any patterns in the photo that I could work with? By no means are these the only questions to ask but they are some good starting points which will help you to make smart decisions about how to capture your subject.
A married couple went to the hospital to have their baby delivered. Upon their arrival, the doctor said he had invented a new machine that would transfer a portion of the mother's labour pain to the father. He asked if they were willing to try it out. They were both very much in favour of it. The doctor set the pain transfer to 10% for starters, explaining that even 10% was probably more pain than the father had ever experienced before. But as the labour progressed, the husband felt fine and asked the doctor to go ahead and bump it up a notch. The doctor then adjusted the machine to 20% pain transfer. The husband was still feel-ing fine. The doctor checked the husband's blood pressure and was amazed At how well he was doing. At this point they decided to try for 50%. The husband continued to feel quite well. Since the pain transfer was obviously helping out the wife considerably, the husband encouraged the doctor to transfer ALL the pain to him. The wife delivered a healthy baby with virtually no pain. She and her husband were ecstatic. When they got home, the milkman was dead on the porch.
WIFE VS. HUSBAND A couple drove down a country road for several miles, not saying a word. An earlier discussion had led to an argument and neither of them wanted to concede their position. As they passed a barnyard of mules, goats, and pigs, the wife asked sarcas-tically, ‘Relatives of yours?’ ‘Yep,’ the husband replied, ‘in-laws.’
The Harley Mechanic and the Heart Sur-geon A mechanic was removing a cylinder head from the motor of a Harley motorcycle when he spotted a well-known heart surgeon in his shop. The surgeon was there waiting for the service manager to come take a look at his bike. The mechanic shouted across the garage, ‘Hey Doc can I ask you a question? ‘ The surgeon, a bit surprised, walked over to the mechanic working on the motorcycle. The mechanic straightened up, wiped his hands on a rag and asked, ‘So Doc, look at this engine. I open its heart, take valves out, fix'em, put 'em back in, and when I finish, it works just like new. So, how come I get such a small salary and you get the really big bucks when you and I are doing basically the same work? The surgeon paused, smiled and leaned over, and whispered to the mechanic. . . . .
You're a good example of why some ani-mals eat their young. - - - Jim Samuels
There's nothing wrong with you that rein-carnation won't cure. - - - Jack E. Leonard
What you said hurt me very much. I cried all the way to the Bank. - - - Liberace
