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Presentation of Awards for the 2009—2010 Season
9th February 2010
Macro Photography with David Vennings
The subject of this week’s presentation brought a good number of members to the club room. David Vennings opened by telling us that he was not a well-practised speaker, and that he was slightly apprehensive as he had no idea how much we all knew about macro photography. He needn’t have worried. David is fairly new to photography per se, only taking up digitial photography a few years ago. However, he soon demonstrated that he had grasped more than just the basics, and with his background experience in science and engineering, he had us all intrigued and fascinated with his methodology and the equipment he had put together to achieve stunning images.
When he first started taking pictures, David used a simple ‘point and shoot’ camera but soon realised that to take the images he wanted to take, mainly of insects, flowers and foliage, he needed to upgrade. Images taken are either in the field or in the studio.
Fieldwork
For fieldwork David uses a flash diffused with a design he had come up with through trial and error. He made a flash bracket to get the flash over the end of the lens and directed onto the subject. His diffuser gives him the quality of light needed, which is very important, spread out and softened but not lost. He also uses a twin flash and a ring flash. Rather than a tripod or monopod, David has devised a stick system which enables him to keep the camera steady and keep himself mobile, as bugs, flies and bees tend to move about quite a bit. David had brought along several images he had taken in the field and showed us some he had taken using a Canon MP65 which gives him 5 x lifesize images. Subjects included: flowers, blades of grass, various spiders, dragonflies, scorpian fly, grasshoppers, hawthorn shield bug, woodlouse, ladybirds, seedheads, grass reeds, rose thorns, flowering heads of moss, bees and flies. For many shots he had used his 5 to 1 specialist lens and everything had been taken in manual focus. Depending on the effect he is aiming to achieve - soft and dreamy or pin sharp - sometimes aperture priority is used.
Studio with Natural Light
Working in a studio is a totally controlled environment, so in many ways things are much simpler, there are fewer variables. Greater magnification can be obtained and the light can be controlled. He showed us an image of a pheasant’s eye which had been taken with a 100 mm macro lens, F32, 1 to 1. It was pin sharp. Due to the lack of bugs available during the winter months, other examples, all pin sharp, included: tomatoes, the back of a pocket watch, lentils and split peas, and smarties.
Studio with Light Tent and Dark Tent
Interesting images can also be created in the studio using light and dark tents. Using a white or black background, various lighting can be placed at certain points around the tent, to achieve controlled and creative effects. Again, due to the lack of bugs at this time of year, David showed us some images he had taken using a light tent: an egg and feathers, jelly babies, dandelion, wild garlic and, my personal favourite, white paper on white paper, cut and curled.
With the dark tent - cardboard box black interior - there is no reflection, no scattering of light, and the light can be tightly controlled, enabling dramatic effects to be achieved. Some of the images taken included: delicate flowers, a caterpillar, an apple and a pepper. The use of glass in front of the subject also aids in achieving interesting images.
Studio - Focus Stacking
David was keen to explore higher magnifications and had built his own rig, where the camera can be moved by increments as small as 1000th of a millimetre at a time. One complete rotation of the main rotation wheel moves the camera horizontally, backwards or forwards by one millimetre. Everything on the rig is bolted down, including the subject to be photographed (after retrieval from the icebox). Vibration, explained David, is a killer at high magnification, therefore a remote release for the shutter is essential. David works at a clear ‘working distance’ of 4 mm, and getting light onto such a small subject is difficult. David does sometimes use flash but finds it too harsh - diffused light is best and he uses small halogen desk lamps with fibre optic light source. There is a very limited depth of field, and everything is focused manually ‘by eye’.
The number of shots taken for a focus-stacked image range from around 60 up to 160 (or more), with each image having a different area in focus. David uses a software package to process the images into one which takes around two minutes. There are various software packages available and these include: Helican Focus and Zerene.
To make life a little easier, David has devised his own checklists when using the rig, from basic things like checking the camera settings, to the required increments needed for a particular type of shot.
Everyone enjoyed the evening and there were plenty of questions for David to deal with during the break and at the end of his session. Our President informed everyone that congratulations should be given to David as winner of the Isle of Wight Photographer of the Year 2009 Competition (his winning image entitled ‘Hey Good Looking’).
David insists that he is still only a beginner, but his enthusiasm, his patience and persistence in seeking out new ways to improve methods of taking images, and the results achieved thus far, clearly demonstrate that he will not maintain his ‘beginner/amateur’ status for too long!
2nd February 2010
‘Pinhole Photography’ and ‘How a Large Format 5x4 Camera and Lenses Work’ - by Eric Mitchell
Pinhole photography has played an important part in the development of photography, and goes back to at least 350 BC. Eric Mitchell’s affair with this age-old craft began with a can of Guinness. He recalled a talk where the speaker had advocated using cans to make pinhole cameras, and decided there and then that he’d give it a try. That was around eight years ago, and Eric’s enthusiasm for taking long-exposure images has not waned. A fact-filled session proceeded.
An interesting assortment of wooden boxes and tins were extracted from a soon to be replaced camera bag (the rucksack not practical in snow conditions explained Eric), and placed on a table. A Japanese panoramic pinhole camera which takes photos in stereo - a wooden American box assembled in one hour, a gift for Christmas. A small wooden box is unobtrusive when placed on say a cafe table, and interesting street scenes can be achieved. Another example Eric had purchased on ebay for the princely sum of £29, only a minor adjustment needed to correct the currently soft images produced. Pinhole cameras can be made out of a match box, a 35 mm film canister, and I recently read that a suitcase and even a van have been used to make pinhole cameras!
Eric is fascinated by the effects that can be achieved with pinhole cameras - extreme and wide angles of 180 degrees - curved skies, stretched, blended, bent, and distorted images that sound fantastical, but from the examples Eric showed us of his own efforts, some are actually quite interesting and creative, and others simply stunning.
Eric says that pinhole cameras are really easy to make. The most important thing about them is the pinhole itself - getting the pinhole the right size. If it’s too small the image will be soft, if you have rough edges the image will be very soft. Pinhole cameras have virtually infinite depth of field. Eric showed us an image he had taken of a motorbike where the camera had been just a hand’s breadth away from the wheel, a very wide angle, and everything sharp. Eric uses an old developer and says it doesn’t matter what film or exposure is used, he knows that at a set temperature, for a set length of time, he will achieve consistent results.
Eric also enjoys the sometimes unexpected and experimental results of pinhole photography, ‘I like quirky images’, he says. He has a fun approach to taking pinhole images and quite often sets up a camera, goes off to make a cup of tea and forgets that he’s taking a picture! One of his pinhole cameras can take three images at the same time creating what he calls a ‘blender’, three different images with a common theme merged together as one. Exposures vary, some take 75 seconds, others 10 minutes, and it’s all guesswork. He explained that sometimes the exposure is so long you only see people who were in the image as a blurr, and occasionally you may obtain completely unexpected results. One time he had taken a pinhole image in a cemetery at 4.30 pm with a two-minute exposure. He did this several times and on each occasion there was an eery shadow in exactly the same place on the negatives. Interestingly, this shadow did not appear on any negatives where a standard camera had been used. Strange and unexpected indeed!
Eric is keen to encourage students with their photographic studies, and has recently been working with an ‘A’ Level student on a project using a beer can to take images with an exposure time of six months on black and white photo-paper. Soft, lyrical images appear in colour and these need to be kept in the dark or the image will be lost. Eric has produced a colour chart of paper used so that he can see at a glance the colours that can be achieved. His next experiment is to undertake another six-month exposure of images, using 35 mm film canisters.
*After tea and coffee … * 5 x 4 Field Camera as used by David Ward
A love of wild, remote places, untouched by the modern world, is apparent from some of the breathtaking scenery Eric depicts in his images, shown in the examples he had brought along. The 5 x 4 field camera used for many shots is Japanese, handmade in teak wood with brass furniture. Eric has four lenses:
- Standard lens - 150 mm
- 125 mm
- Wide Angle - 90 mm
- 300 mm
These lenses as new can cost up to £1500, although Eric has purchased all of his second-hand.
Eric set up the camera on a tripod for us to see how it fits together, showing us the different focal lengths required for each lens, ie the distance between the film and lens. Setting the gear up looked like a lengthy process, but Eric assured us that it can be taken down fairly swiftly when you have a snow storm on your tail!
Light is of course paramount for good photography and part of Eric’s essential kit is a waistcoat which holds various essential tools: a compass to give sunset and sunrise times - this enables him to be at a particular location at the right time to capture an image. Another pocket houses his light meter. A long cable release is also extremely useful. When using the 300 mm lens affixed to the Tachihara, Eric pointed out that when the bellows are extended fully, the heavy lens on the lightweight camera and tripod can cause the whole set-up to become shaky in high wind conditions, and this is also where the cable release is essential.
Eric then went on to show us us some of the pictures he had taken with the 5 x 4 Tachihara camera, rounding up with one of his bromoil prints.
In the first half of the twentieth century, a process known as ‘Bromoil’ was a favourite with pictorialists and salon exhibition photographers. It is also a favourite with Eric who does not do as many as he’d like as he has other interests, and to create a bromoil is a lengthy process - sometimes up to two or three weeks. He tends to use art paper to produce a print. The print is put into a solution and it etches out and takes out black silver suspended in gelatine, and you end up with a matrix. The print is effectively bleached leaving a faint image with raised and depressed areas on the paper, picked up when pigment is applied to the image by brush.
Eric is modest regarding his skills using pinhole cameras and says that he could have achieved more if he had taken more care and taken more time. I think though that he has a quiet passion for this form of photography - and for bromoils - clearly evident in his results.
26th January 2010 - Evaluating Photographs and HDR with Gary Early
Photographs are made rather than taken. In other words images are created by the photographer through the lens and in the darkroom - or the lightroom - by several stages of evaluation. This was the basis of Gary Early’s first session at the club house last night.
The images that we take do not necessarily appear on the screen or as a print as we remember them. When the camera takes a picture, it is not how we see it - it is not how we remember it. Almost all elements are different in colour and composition. Gary emphasised the importance of pre-visualisation during the actual taking stage, ie to know how we want the final image to appear. Looking through the lens we need to check the black areas and how they balance with the rest of the picture. Does the picture need cropping? Do the highlighted areas have detail, and should the white in the picture be pure white? So many things to think about before we’ve even clicked the shutter!
Tones
Gary continued by giving an example image on the screen, and helped us to really look at the image, to really see it, and to evaluate which areas needed to be looked at more carefully. Some of these are listed below:
- Check mid tones - If too dark the picture will look muddy, if too light, the overalll effect will be washed out.
- Check dark tones - Do these areas maintain detail? If too light, the mood of the image may be affected.
- Light tones - If too light or too dark they will lose detail.
- We need to analyse the picture and imagine these different tones.
Colour and Sharpening
Gary also talked about colour casts on images. For example, some whites may have a blue tinge to them. He pointed out that generally women are better at seeing colours than men - black and navy is a classic example. We need to check that the colours and the hues are correct.
Many people use digital cameras these days. Gary said that film is always sharper than digitial, and that every digital image will need an element of input sharpening when first opened.Output sharpening depends on the type of medium being used to print on, in which case it may also need output sharpening. The biggest problem for many beginners when sharpening is to over-sharpen.
Picture Balance and Elements
The human eye has a much larger dynamic range than a camera and images taken with a digital camera always tend to come out on the flat side. Two good reasons, explained Gary, to check the balance of the picture and areas of over-saturation - the colour of grass is often a big offender.
Sky, sea, buildings, etc are all elements of a picture, and for that picture to stand out we need to find a way to create emphasis within that picture to make it stand out, to give definition and to be more dynamic. A good example would be the eyes in a portrait.
These are just a few of the areas touched on by Gary in the first session. His aim was to make us question what and why we are doing certain processes - to make us evaluate our images and ultimately to get the best out of them.
After Tea and Coffee …
Gary is always eager to share his knowledge of new software and explaining new techniques, and this lecture was no exception. His enthusiasm for the FREE software available for creating High Dynamic Range images was evident, and his respect for the possibilities to be attained by using Vivazer 2 NX Software was not to be ignored. He went through the software with us and explained how it all tied in with his work in the first session.
FREE HDR Software - Picture Naut - www.hdrlabs.com/picturenaut
This free software does not need installing as it is a stand alone .exe file. Gary explained that the purpose of HDR imaging is that you can use a series of images with one stop difference, best taken on a tripod, and combine them into a final image. In effect, you have every aspect of the image, all the tones and detail, to create a near perfect (well it should be perfect!) shot. All the colours, tones and hues should be spot on.
Viveza 2 - NX Software
Unfortunately this software is not free but it’s applications are quite exceptional. Gary had the software on his laptop and swiftly demonstrated some of its capabilities - and I think we were all suitably impressed. You can take one part of an image, let’s say a washed out blue sky, click a pointer in that spot, and edit just that particular spot to make the sky a deeper blue, brighter blue etc. In essence, it is precise, selective photo editing.
Gary’s aim had been to help us to create the best possible pictures by making us think about out all aspects of our images before, during and after we have taken them. Through critical evaluation, and by using a combination of software we can achieve the perfect balance of a picture.
One member commented that he preferred to use Photoshop and that he enjoyed editing his images using this software. As a professional photographer Gary processes thousands of images and needs to be able to do this quickly and effectively. He acknowledges and respects that some people may prefer to use more traditional and popular software packages. The software he uses best suits his working practice.
I think that we all benefit from Gary’s personal experience, and his knowledge and use of photographic software. So thanks Gary and see you next time.
12 January 2010
David Ward considers himself a ‘T’ Shirt Winning, professional landscape photographer working on large format. As a professional he has photographed everything from Huskies to Ferraries but landscape has always been his passion.
Up until 1983 David had been using Linhof cameras. Then purchased a Technika Mark 1V, and is currently using aTechnikarden 45 S, as well as a Canon 5 D and Panasonic Lumix LX3.
Also he writes books about the philosophical side of photography and leads workshops.
Languard Manor and Sandown/Shanklin District Camera Club will be hosting Davids lecture/slideshow on the 22nd March 2010 at 7.30 pm…..All are welcome
10 November 2009
George McCarthy FRPS - Nature and Wildlife Photographer
Trip Across America
The Pavillion meeting room was buzzing with anticipation from members and visitors, gathered early to stake their seats for George McCarthy’s slideshow presentation on his year-long trip across America.
Plenty of scribbling in my notebook took place that evening as George had lots to tell of his travels. I think though that it would be unfair to George for me to divulge every detail of his presentation, and it would also spoil the enjoyment for those of you who have yet to share the journey. Hopefully this precis will give you a good idea of what you can expect!
George began by telling us that he had effectively caught the travel bug after driving from Sweden, through Finland and into Norway, and spending six months in a motor caravan in the Tundra. A bleak, desolate place, days went by and he saw no one - and he loved it. This gave him the idea to go to America, but this time for a year. His wife took some gentle persuasion - everything else was organised, camera gear, vehicles, visas etc - and eventually it all fell into place for their USA road trip
Deciding to follow the sun, George and his wife set off along the Gulf coast. They went to one of the biggest swamps in Alabama, host to a multitude of migratory birds. George was keen to photograph one bird in particular - the Great Egret. Apparently there are no leaves on the trees when the birds first start nesting, and this is an ideal time to catch them at their finest, when the males fan out their plumes like a peacock. George had such an easy way of sharing his experiences, it felt more like watching a home movie in his lounge over a cup of coffee than in a club house - and the images were stunning. And the journey had only just begun!
Back on the road again and heading towards Texas. Shots en route included a Cyprus Tree covered with Cormorants. It was wonderful to see such unusual birds and mammals: the Snake Bird, called so as it swims with its body completely under water; and a water vole-like creature only this one weighing in at around 35 pounds. George’s immense satisfaction in photographing his first Bobcat was still evident - the first he’d ever seen through 24 tours into Florida. Back to birds: Turkey, Quail, Golden Fronted Woodpecker, and the Great Kiskadee. Through his travel experiences George has gained extensive knowledge of the migratory habits of American birds and he was happpy to share his knowlege with us. Other mammals encountered were Racoons, and there plenty of those foraging around, and Ground Squirrels emerging from what, at first glance, appeared to be rat holes, absolutely everywhere. Using the car as a hide, George was able to take images of more sensitive creatures, such as the White-Tailed Deer. He explained that if you take pictures for a living you have to be on the ball and quick. In this particular instance the White-Tailed Deer afforded him five charming and beautiful images.
The Grand Canyon and Antelope Canyon
George’s first experience of the Grand Canyon was, he said, ‘awe-inspiring’, and his image of early morning sunlight over the canyon certainly captures his feelings for the place. Apparently you need to be prepared for a drastic change in temperature in this area as you could be wearing a t-shirt one day and it might be snowing the next. Navajo Indian guides will take you through their reservation to Antelope Canyon in Utah. Sandstone cliffs that in the dry season bely the danger of flash floods, stand tall and proud.
Landscapes, Mammals and Birds
In addition to the above, other landscapes captured by George included; Bryce Canyon with its strange rock formations and illuminated pinnacles, Yosemite National Park, Death Valley and Stove Pipe Wells, purported to be the hottest place in North America - the Devil’s Golf Course and Artist’s Palette, sand dunes and dust after a sand storm, images of the Californian coast, the Grand Tetons - an iconic location - and Schwabachers Landing, Yellowstone National Park, and Alaska.
Images of mammals and birds included: the Brown Bear, Grizzly Bear, Coyote, Wolf, Chipmunk, Utah Prairie Dog, Elk, Bison, an absolutely gorgeous fox (one of my favourites), Moose, Badger, Grey Jay, Clark’s Nutcracker, and the Sandhill Crane
Countless Images of endearing mammals, stunning birds, and breathtaking landscapes ensured the audience’s interest was held throughout George’s presentation. Interesting and humorous anecdotes accompanied almost every image, (many of these stories related to the presence, or not, of bears!), in addition to accounts of experiences at campsites, and on and off the road. Needless to say the content of George’s presentation far outweighed the few lines written here.
I always try and take away with me at least one lesson learned from sessions such as these, and I think the one aspect of George’s work which stood out as all important was capturing the light at the right moment to make the most of the subject. In George’s case this often means rising at 4.00 am!
At the end of the evening George happily answered questions about his road trip, his images, the photographic equipment he used and even the type of vehicles he chose for the trip. All in all it was a great evening and I think everyone is looking forward to his next visit.
George very kindly allowed us to share some of his images with visitors to our website. These are just a few of George’s inspirational pictures. Thank you George!
27 October 2009
Once again the club room was packed for Gary Early’s session, with over 30 members armed with their cameras ready to listen and learn, and to shoot questions.
During the last session Gary had introduced members to Windows 7, since then he had taken time to become more familiar with the operating system. Released on 22 October, he had been running the full version and, compared to Vista, pronounced it a great success.
Before enlightening us with his Lightroom Tips, Gary went through final details from the previous ‘Back to Basics’ session. Loads of interesting and helpful items were covered. Here are just a few:
the importance of Exposure Compensation - for example when a subject is heavily backlit, or taking shots in bright sunlight with high contrast. In these situations, sometimes a camera’s automatic settings will determine the wrong exposure so it is always better to manually adjust the exposure value (EV).
Using Flash Exposure in daylight can be very useful, especially to fill harsh shadows. The trick of using flash, explained Gary, is to render an image where it is not obvious that flash has actually been used.
Checking the Exposure - A camera’s LCD monitor is designed to give a guide only. It is up to the photographer to ensure that the exposure as seen on his/her camera corresponds to the same brightness as on his/her computer monitor - and of course all our monitors have been calibrated haven’t they(!?!?).
Take note of what your ‘blinkies’ tell you! Take care not to over-expose resulting in ‘white’out’.
Gary did a summary of specifics covered, including details from the last session. I suppose the things he said that stuck in my mind from these sessions were: develop good practice and get into a routine of checking your camera settings before and after taking images; know your camera by increasing your photography skills; and don’t rely on the automatic settings.
Brief Introduction to Lightroom 3
It seems that Lightroom is fast becoming a revolutionary piece of software kit for all serious photographers, and especially for those who handle large batches, sometimes thousands, of images. In essence, it is designed to make life easier, and Gary Early endorsed the new Lightroom 3 test version which is available to download now, FREE, until the end of April 2010.
Gary explained that overall Lightroom 3 is a lot smoother and a lot faster, and the designers have added a host of new features. Other improvements are in de-mosaicing, sharpening and noise reduction. The input dialogue has been redesigned allowing the user to see where images are coming from and their destination, all in one window. Breakthroughs have also been made in: the develop module, auto sync, print module, library, loop view, collections, and graduated filters. There were many other features covered by Gary, in detail, but too many to mention in this space.
Gary explained that between now and the end of April the designers will be listening to users’ feedback and making even more improvements. He added that this great Beta version does not allow the user to access all functions, so we can expect the full version to be exceptionally good.
The group showed Gary their appreciation with a good round of applause and, as our Secretary, Chuck Eccleston remarked during his closing words of thanks, if anyone went away from Gary’s session without learning anything, then they must have been asleep!
30 September 2009
Back to Basics with the DSLR
Gary Early - Isle of Wight Digital Imaging Group
All seats were taken at the Pavilion in Watery Lane last night for Gary Early’s presentation on back to basics in using a digital SLR camera.
Gary is always keen to encourage photographers in their learning and understanding of their digital cameras, and the computer software they use to enable them to make the absolute most of their digital images. This involves good practice not only when taking images, but in preparing the camera before taking images, and getting into a regular routine when downloading, sorting, and storing images. Referring quickly back to computer software, in addition to any evening’s presentation, Gary is always generous in his knowledge of computer software, and makes a point of stating what is currently available and letting the group know about packages he has recently purchased and what he thinks about them.
As is usually the case during Gary’s sessions, he packs in so much, takes time to listen to members’ questions and to explain things as fully as possible, invariably the evening has disappeared and there’s still more he would have liked to have gone through. It would take too much space to write here all the details of the evening, but to give you an idea, below are just a few of the things covered:
Advantages of Using a Digital SLR Camera
For example: super-fast autofocus helps to determine the best possible exposure indoors or outdoors, the camera offers total exposure control, it has a complete choice of multiple lenses … various flash controls, total control over shutter aperture … and there was much more!
Gary explained that the type of camera you use or need, depends entirely on the type and quality of images you want or need to take. All digital cameras have many functions but as you move up the price ladder, the flexibility of the camera’s functions, and therefore the quality of images produced, improves vastly. For example: higher quality ISO settings, faster and more accurate focusing, faster frame rate and write speed.
Things to Consider When Setting Up Your DSLR Camera
Gary listed, and then proceeded to explain the importance and uses of: colour space, colour mode, tone compensation, image sharpening, auto exposure lock, time and date.
Things to Consider When Setting Up Your DSLR Camera for a Camera Shoot
Again, Gary listed a whole host of items that we should consider before using the camera for a shoot including: ISO, white balance, image quality and size, shooting mode, focus mode, exposure mode, focus area … and there was much, much more!! In fact, he did say that preparing a camera checklist would probably be a good idea and to check the settings on your camera often. Other things to consider: card formatting and - basic but very important - checking the battery! He also added that all of the information he was sharing with us could be found in the camera’s manual, and the reaction was interesting when he asked how many of us had actually read the manual! The full functions and uses of each camera mode Gary itemised were covered in detail, and a few members commented that they wish they had brought their cameras with them so that they could go through the functions as Gary explained each one.
Gary’s explanations of each function and mode on the DSLR were clear and concise, and additional information he gave regarding using RAW or JPEGs, file compression, creating lighting systems - and so much more, were very useful. For me, I found his tip on using fill-in flash in bright daylight particularly helpful, and I think everyone went away with things to think about and to put into practice.
Gary’s aim was to try and get us to think about the functions on the camera, in relation to what we want to achieve when taking photographs, and to do that we all need to know our cameras and how to use them most effectively.
22nd September 2009
Digital Image Critique
Over thirty images were submitted by members for this week’s digital image critique in colour and black and white. Subjects for images included natural history, seascapes, landscapes, architecture, portraits, sailing ships, animals, buildings and rusting metal (beautiful colours on this one with wonderful detail!).
Geographic locations were not limited to the Isle of Wight and neighbouring mainland; interesting and varied images were also taken in Lisbon and Florence, and it’s fair to say that all members were particularly impressed by Stuart Bennet’s images from the Falkland Islands. (We hope to persuade him to put together a slideshow presentation for later in the season!)
Critiques are always useful and productive evenings when members can explore the composition of an image, and everyone is happy to share their thoughts and give supportive and constructive comments. Tonight’s discussions included the use of borders; use of different lenses; the actual position of the subject in the frame; distracting highlights in the background and foreground; use of colour - too much saturation; too much brightness or ‘burnt out’ areas; perspective, cropping; and perhaps one of the most important things discussed - balance - balance which is needed in every aspect of an image. The Chairman emphasised that the author should aim to keep the viewer’s eye in the image and not to have any distractions that might take the viewer’s eye out of the picture.
A cheery evening was had by all and everyone is looking forward to next week (Tuesday, 29th September), when professional photographer Gary Early will be visiting the club, presenting a talk and demonstration on techniques used in Lightroom and Photoshop. Not to be missed!
14 September 2009
Big Cats are Karen-Jane’s Passion
Club Visit on Tuesday, 8th September 2009
Disclaimer: This article does not give definitive instructions on wildlife photography. Anyone thinking about taking images of wild animals should seek independent professional advice.
The pride, passion, and personal responsibility Karen-Jane Dudley feels for her work as a wildlife photographer is clearly evident in her wonderful images, and expressed in her every word and gesture, in particular with regard to the White Lions of the Greater Timbavati region of Southern Africa. These lions are one of the world’s most endangered cat species and Karen-Jane is Head of the Global White Lions Trust Chapter Office in the UK. Following the Club Secretary’s introduction, Karen-Jane wasted no time in proceeding with an update on the white lions’ progress.
White Lions Still Learning
Since last year a small family of lions, mother, father and cubs, have been introduced to 1000 hectares of the second half of the reserve. This is a sub-holding area to give the lions a good start to become familiar with their environment and fellow animals. Now 18 months old, the lion cubs have grown and started to mature and their mother is taking them on hunts. Karen-Jane explained the importance of the mother to take the cubs with her to familiarise them with the territory and to teach them how to hunt. The Timbavati region is very dry and the lions’ white coats are excellent camouflage in these surroundings. Never having encountered other animals, the lions need to learn which are predators and those who pose no threat - for example giraffes. A group of giraffes recently had to be temporarily relocated 25 miles away as the lions had one cornered near electric lines - perhaps a first. Another first for the white lions is when the conservation team discovered they could actually climb trees!
The Bush is incredibly dry at the moment, and with the danger of fires, the team is busy digging trenches to prevent the fires spreading and endangering the lions.
Throughout her talk Karen-Jane projected various images she had taken of the white lions, her skill as a photographer capturing both their wild and gentle nature. Reintroducing these creatures into the wild was never an easy task but the conservation team are pleased to be able to prove the sceptics wrong.
Caring School Children
Karen-Jane was excited to report that The Global White Lion Trust is also receiving support from school children on the Isle of Wight and the mainland who are keen to help the white lions. She was delighted to attend a musical production put together about the white lions at the Portsmouth Guildhall presented by Dover Park Primary School. Karen-Jane is also getting together with a group of school children on the Island, some of them orphans, who want to support the white lions. It is hoped that a few of them will be able to visit the Bush.
Karen-Jane punctuated her presentation with the importance of informing the general public of the white lions’ plight. She felt her images, taken through fifteen years’ experience as a wildlife photographer, could help in achieving this.
Wildlife Photography
During the second session Karen-Jane gave the group an insight into her photography methods and what actually goes into a shot.
As a wildlife photographer Karen-Jane conducts photographic tours. The first part of the journey is held in total silence, without cameras. Taking images of wildlife requires the author to know their subject. The author should try to understand and feel the animal’s environment, become aware of what is around them. On their return journey participants are permitted to use their cameras and Karen-Jane said ‘it’s amazing how much they learned’, which showed in their resulting images.
Karen-Jane marvels at the available light in Africa which changes so rapidly, and once the sun drops below the horizon the light is gone but the sunsets in Africa ‘are beautiful - second to none’. Many of her images are captured either in the early morning or in the evening. In the heat of the day the sun is too harsh.
She emphasised that taking images of big cats requires you to know where the animals are. Learn as much about the animals as you possibly can. Learn about the Bush and read it as a book. Nature is a book and nature makes its own rules. For example, once a predator has eaten it goes to water, so opportunities are there for taking shots of big cats at water holes. Also, in the heat of the day, big cats will not move. You need to be able to read the animal and know what they are doing. To get the best shots, it’s also good to know animal behaviour and how animals hunt. Once caught, buffalo will make a distress call so they need to be silenced quickly. The lion will put its whole mouth over the muzzle of the animal and blow, filling its lungs. Karen-Jane called this ‘the kiss of death’. A lion will not release grip on its prey until it stops twitching completely. Another example is, when a cheetah walks toward a herd with its white tail tuft flicking up in the air, it is not in hunting mode.
The group were able to view a series of Karen-Jane’s animal images, where she explained the thinking behind each shot. These included: various shots of lions, cheetahs, crocodile, rhino, ostrich, antelope, zebra, giraffe, lilac-breasted roller, vultures, elephants, wildebeest, buffalo … and more!!! There were too many to review every one in this write-up but here are some details on just a few: Cheetah - portrait shot giving the intensity of the look - a look of a predator being hunted. Karen-Jane said that the cheetah is the typical predator, always scanning and also the ‘King of Speed’. Speed is the cheetah’s strength but also its weakness. After a high-speed run the cheetah has to rest for 40 minutes or could sustain brain damage. During that period it is very vulnerable to attack; Lion at water hole - the lion is watching the whole time and very aware of what is going on all around. Karen-Jane explained that she had taken the whole body in this particular shot as the body posture gives a sense of what the lion is doing and also gives impact on the photo; Elephants - group of elephants with the main focal interest being a baby elephant dwarfed by its family. Karen-Jane explained that baby elephants have no control over their trunks and this shot captured the humour which Karen-Jane had seen. Crocodile eye - she could have taken an image of the whole crocodile but felt that this shot captured the nature of the beast - big, beautiful and scary.
To capture those exceptional moments, Karen-Jane says it’s best to be at eye level or lower with the animal. If you move forward standing up, this could be seen as aggression. Karen-Jane stands completely still when she first arrives on location just to let the animal know she’s there. She says ‘There’s an invisible line. Years’ of experience tells me where that line is and how far I can go.’.
Regarding digital manipulation - Karen-Jane stressed that there’s nothing wrong in eliminating small elements from an image but felt that perhaps some people rely too heavily on manipulation to get the shot. She summed up by saying make the shot count and know your subject.
Next Stage for White Lion Project
The Global White Lion Trust is working with the South African Government, and shortly Government Environment Lawyers will visit the project to see what’s been achieved. It is hoped that they will give permission for the Trust to purchase 8000 hectares of land adjacent to the Trust’s current site.
As it is such a crucial project, the Trust had always said that the general public would not be permitted to visit the white lions but Karen-Jane explained that they now felt that people needed to be rewarded for being so supportive. By purchasing the land the Trust can help to save the lions from an industry which kills them for money. If they can start to rescue them then the doors will be opened for people to go and see them.
The Trust has now arranged an exclusive nine-day tour, from 23rd October to 2nd November 2009, entitled the ‘Royal Tour’. Full details of this ethical wildlife photography field trip can be viewed/downloaded on the attached PDF - GWLT_-Royal_Tour_-Photographic_field_trip_brochure_2009.pdf - This is a unique opportunity for people to photograph the white lions under Karen-Jane’s guidance.
Recognition of Club’s Support
Karen-Jane informed club members that the money raised by them during her last visit in September 2008, had assisted in the purchase of two telemetry collars for two male lions. The collars make it much easier for the conservation team to locate the lions. In recognition of the club’s continued support, Karen-Jane presented the President with a Certificate of Appreciation.
All those attending had a hugely rewarding evening with Karen-Jane, generous with her expert photographic knowledge and advice. Karen-Jane stressed the importance of keeping safe when photographing wild animals and not to take risks. Her presentation clearly illustrated her knowledge of and respect for wildlife, and showed everyone what she herself said: ‘Big cats - I love them to bits.’
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Sandown Shanklin and District Camera Club