Category Archives: Programme

Digital Images Competition and Aurora

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A reminder that this coming Thursday is the deadline for entering the Digital Projected Images competition. This is an open competition where you can enter colour images of any subject. To enter the competition please email your 3 JPEG images to our competition secretary, George Todd (georgetodd1957@me.com). If you can’t email your images you can give them to George this Thursday.

Images need to be sized to fit into a 1600×1200 pixel rectangle, as shown below. A 4:3 landscape image can be resized to 1600×1200, but a 4:3 portrait image needs to be resized to 900 x 1200.

If you are a beginner and don’t know how to resize your images, send them anyway. George is always happy to help beginners to resize their images. Best of luck. The competition will be judged by Eddie Telford on 12th October 2023.

And now the second part of the news. I am getting a red alert for an aurora this evening, and the sky is clear! If you have the time, and are able to find a place with a good view of the northern sky, you could get some great shots this evening.

https://aurorawatch.lancs.ac.uk/

See you this Thursday, when Neil Scott will give us his talk on “Minimalism My Way”.

Digital Photo Feedback Tomorrow

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A reminder that we will be having our digital photo feedback session tomorrow. Bring along a data stick with 2 JPEG images, or email them to George Todd, and we’ll discuss them. It’s a good opportunity to seek a second opinion on your images.

If any member would like a mounting demonstration please see Joe Fowler, who can demonstrate our mount cutter to small groups of members.

A couple of things to watch out for if you are keen on astrophotography (and manage to find a clear sky):

See you tomorrow evening.

Steven

07 September 2023 (Opening Night)

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Welcome to the 2023-2024 Season!

It was lovely to see so many familiar faces back at the club after our summer break, and even better to see so many potential new members joining us. The club was featured on Radio Saltire on 26th July, and there was an extra exhibition of our work at the radio station during that week. A recording of the show may be posted online, so check out their web pages:

https://www.radiosaltire.com/

https://www.facebook.com/RadioSaltire/

This year we will be concentrating on face to face meetings and hoping to bring back more of the informal chat that we lost during Covid. We will still use Zoom occasionally to connect with other clubs and our friends overseas. We began the meeting with a few announcements:

The following events provide some opportunities for sports photography over the next few weeks:

You can find a summary of Musselburgh Camera Club’s 2023-2024 programme here on the web site:

Programme 2023 – 2024
The 2023-2024 club programme

Information on how to enter the club competitions can be found here (or you can just ask George, our competition secretary):

Competition Information
An introduction to the club competitions

Joe Fowler gave us an introduction to the national competitions which are open to all club members. He showed us a selection of his entries and described his experiences. He emphasised that most photographers who enter these competitions don’t win anything. But everyone who enters a competition gets feedback which helps them improve. Don’t be put off by one judge’s comments, because we all have different tastes, and don’t try to bend your style to match what you think the judges will want. Your own style will develop as you learn.

We finished the evening with a chat over tea and biscuits. Next week there will be a digital image feedback session. Either bring along 2 JPEG images, or email your images to George at georgetodd1957@me.com.

27 April 2023 (AGM and Presentation of Trophies)

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The 2022/23 Musselburgh Camera Club season ended on 27th April 2023 with the AGM and the presentation of trophies. The AGM was organised as a hybrid meeting, with most members attending at Fisherrow but a small number joining by Zoom. Next year we plan to go back to face to face meetings as the norm and restore our regular tea and coffee breaks, but we’ll use Zoom as an occasional tool for reaching out to more distant speakers and clubs.

Members had an opportunity during the evening to suggest and vote for the topics for next year’s set subject competitions. The top results were:

  1. Macro
  2. Contrasting Textures
  3. Flowers
  4. Water

The first 3 topics become set subjects A, B and C and the last topic will become the subject of our digital knockout competition. For beginners who may be reading, “Macro” is a close-up photograph of something small, as defined in this article: Macro photography definition. It’s an opportunity to look at the small things around you. You can use any of the special equipment described in the article (macro lens, reversed lens, extension tubes, close-up lens) to take macro photographs, but here are a few tricks you can try if you don’t have such equipment:

  • Use a telephoto lens at its minimum focus distance. Some lenses can take surprising good macro photographs even when they are not labelled as “macro”. You can use a larger subject to disguise the fact that you are not that close.
  • Take a photograph through a magnifying glass. A close-up lens is merely a magnifying glass that clips onto the front of you camera.
  • Use your mobile phone. Mobile phones can take close up photos because their cameras are small.

The AGM finished with a presentation of trophies and medals and with a delicious selection of snacks and refreshments provided by Jennifer Davidson, Liz Sowler and George Smith, who also received the club’s “Golden Teapot” award. The full list of trophy and medal winners can be found on the following page:

Trophy Winners – 2022/2023

Although the AGM brings the formal 2022/23 season to an end, there will be informal meetings by Zoom every Thursday evening throughout the summer. We also have an exhibition in The Wee Hub at Ocean Terminal and at various libraries. The timetable can be found at the following page:

2023 Library Exhibitions

Our first meeting of the 2023/24 season will be on Thursday, 7th September 2023. We have another programme packed with speakers, competitions and special events to look forward to. In the meantime, best of luck and I hope you have a summer packed with fun photography.

See you in September if not before. All the best,

Steven Beard

20 April 2023 (Justin Minns: Interesting Stuff)

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This week, in our last club meeting of the 2022/23 season, we joined Beeslack Penicuik Camera Club for a fascinating Zoom talk by landscape photographer Justin Minns. His talk “Interesting Stuff” was inspired by a 1947 quote by photographer Jim Richardson:

“If you want to be a better photographer, stand in front of more interesting stuff.”

Justin began by showing us some landscape images he had captured around his local environment in Norfolk and Suffolk; mostly beach and woodland. He tended to capture his images around sunrise, but would sometimes stay longer and walk around to see what other opportunities were available in the area. His advice was to go with the flow and work with what you have. Look at the shapes and textures in the landscape. Even ugly subjects can become interesting if you apply the right technique, as demonstrated by a long exposure shot of Felixstowe docks taken during the blue hour after sunrise. The blue hour provided just enough residual daylight to balance the artificial lights of the docks. Justin advised us to compose shots carefully. Try to avoid overlapping objects in the frame. If you have taken a landscape shot which seems to look great on the back of the camera, zoom in and check it carefully for small mistakes before walking away. Justin referred us to his books “Photographing East Anglia” and “Photographing Essex” for more details.

The second part of Justin’s talk was on the theme of “Making it Interesting”. He demonstrated the following techniques you can use to enhance landscape shots:

  • Using motion: Photographing a moving subject with a long exposure, or moving the camera when photographing a stationary subject, can add drama and movement to a shot. Keeping the camera still for a while and then moving it before the exposure ends can create a striking double exposure effect. Justin recommended a shutter speed of 0.3-3 seconds for creating a “swoosh” effect which emphasises the motion of water or a long exposure of 30-120 seconds to render moving water into a minimalist mist. When only part of the scene is moving, a long exposure can make stationary subjects stand out.
  • Using focus: Most landscape photographers will try to make everything sharp, but you can make a shot more atmospheric by deliberately blurring part of the scene. Justin showed a woodland image where some heather in the foreground had been turned into a blurred mist by throwing it out of focus with a narrow depth of field. There was also an atmospheric shot of some blurry, back-lit seed heads.
  • Using infrared: If you have an infrared-converted camera, or use a conversion filter, infrared shots can make dramatic black and white images of woodland or old buildings.
  • Framing: Using a wide angle lens and including small figures in a scene can give a sense of space. Conversely, a telephone lens can pick out important details from a scene and cut out distractions. For example, woodland images look more dramatic if you cut out areas of distracting bright sky. A scene can also be improved by viewing it from an unusual angle, for example by looking down using a drone.

The third part of Justin’s talk was about “Interesting Places”, where he showed us fabulous shots of his favourite places for photography, which are:

Justin’s final section was about “Interesting timing”; how your approach to landscape photography might change with the season or time of day. The golden hour and blue hour are good times of the day, but if you can’t visit a place at those times you can make the best of what you have. Frosty conditions during the winter can transform a landscape into something unusual, especially when the combination is unexpected, such as a frozen beach. Another example of “going with the flow” was a snowy scene where all the sky detail had been lost. Justin used the opportunity to create a minimalist image. The same thing can be done in foggy or misty conditions. In calm conditions look for interesting reflections. Some of the most dramatic scenes happen at the transition point where good weather ends and bad weather begins. Justin finished the section with a collection of images of the aurora borealis. If you are lucky enough to capture an aurora, don’t forget to include some foreground interest to make a more balanced composition.

Justin concluded that he disagrees with Jim Richardson’s quote. You can visit and photograph lots of interesting places, but the really good photographs arise from your own ideas, inspiration and creativity. He felt this quote by Henri Cartier-Bresson was closer to the mark.

“To photograph: it is to put on the same line of sight the head, the eye and the heart.”

Thank you to Justin for a fascinating and inspiring presentation, and to Beeslack for hosting it. Next week we will be holding the club’s AGM at 7pm in our usual room, G3, at the Fisherrow Centre. Please come along with ideas for set subjects we can use next year.

See you there.

Steven

16 February 2023 (Alan Walker: Discovering Nature Photography – Japan and Beyond)

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This week we joined Beeslack Penicuik Camera Club for a fascinating talk by Alan Walker of Keswick Photographic Society, who described his experience discovering nature photography around the world. This particular talk, Japan and Beyond, is part 4 of Alan and Julie Walker’s “Discovering Nature Photography” series. You can find Keswick’s summary of this talk at the following link:

Julie and Alan Walker “Discovering Nature Photography Part 4 – Japan and Beyond” October 30th

Alan began by showing us the photographs he had taken from a visit to Japan in February 2018. The trip began in the Japanese Alps, where macaque monkeys gather to warm themselves in the hot pools. The two main problems in photographing these monkeys are the large numbers of people who gather round them and the steam from the pools. Alan avoids these problems by getting in close and waiting for moments when the steam subsides. He uses a Canon 200-400mm zoom lens with a built-in 1.4x converter, which can take the lens to 560mm. Photos were typically taken at ISO 1600, f/5.6 and 1/1000th second. Next he showed us photographs of the iconic red-crowned cranes at the Akan-Mashu National Park. These cranes are black and white birds photographed against a white snow background, so are difficult to capture. Alan recommended an exposure compensation of about +2 stops to get the whites looking right. The birds can be darkened in post-production. The best images are taken by getting down low to capture the birds against an out of focus distant background. Alan also described his experience photographing Steller’s sea eagles in the Sea of Okhotsk, birds which make great silhouettes when captured in profile.

Next, we were treated to a collection of nature photographs captured at the Bosque del Apache National Wildlife Refuge in New Mexico, USA. Here Alan photographed snow geese and sandhill cranes in dim lighting. He experimented with photographing the flocks of birds at slow shutter speeds (e.g. 15th-60th second) while panning, which created images with movement. He also captured individual birds when taking off or landing. The birds look better when taking off, because they are looking up, but it is much harder to catch a bird doing this.

Alan moved on to show us photographs of mountain hares and red squirrels captured in the Cairngorms National Park in Scotland, and photographs of tawny owls and other birds captured from a hide in Otterbourne in Hampshire. Alan also showed us photographs of big cats captured in the Kalahari Desert in South Africa. He explained that the Kalahari is not a good place to visit for a safari if you want to see lots of animals, but if you are a photographer you go for the yellow grass and the lovely light. Alan finished by showing us images of polar bears captured in the arctic tundra around Churchill in Canada. This is a very bleak and cold place, and the polar bears are out to get you! Alan showed how polar bears are photographed safely from large viewing vehicles. In the question and answer session Alan gave some tips on keeping your camera operating in the extreme cold:

  • Keep your batteries warm at all times. Keep charged batteries in your pocket, not in your camera bag. Be aware that even the discharged batteries need to be kept warm, or they won’t charge properly.
  • Be aware of condensation when you return to a warm room after being out in the cold. If you need to take your batteries out do it before you come in. Opening the camera in a warm room when it is still cold could let condensation form inside.

All in all this was a fascinating talk from beginning to end. Thank you Alan for entertaining us with the talk and thank you to Beeslack Penicuik Camera Club for organising it.

Steven

This week’s Digital Photo Feedback session

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This Thursday evening we will be having another digital photo feedback session. Please bring along any JPEG images you would like to show members and get some feedback. This time we will also be taking the opportunity to run some demonstrations. Steven will demonstrate how to make adjustments with Photoshop, so if you have images you would like corrected or adjusted please bring them along. Joe will also demonstrate how to use the mount cutter.

It has been suggested that we show some video tutorials on Photoshop. The following YouTube series have been suggested:

Anyone can watch these videos at home, so the main reason to show any of these on a club night would be to talk about them. Do any of these look interesting enough to show?

See you on Thursday.

08 December 2022 (Julian Elliot: Breathless in Nepal)

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Our last meeting before Christmas was another joint Zoom talk hosted by Beeslack Penicuik Camera Club and joined by Earlston Camera Club members. Julian Elliot, an award-winning landscape and travel photographer, connected with us from France and gave us a fascinating talk about his experiences. You can find more about Julian on his web site:

https://www.julianelliottphotography.com/profile/

Julian began his talk by describing his kit and explaining his techniques. He normally travels with a Canon DSLR camera plus 6 lenses (3 zoom lenses and 3 tilt/shift lenses), although 90% of his travel photography is made with the following gear:

  • A 24-70 zoom lens. Julian finds this lens makes great portraits, and is also useful for landscapes and use in cramped spaces. He likes to photograph hands with this lens.
  • A 100-400 zoom lens. Julian uses this lens to make landscape images of distant mountain scenery. Some people are surprised that a telephoto lens can be used for landscapes, but mountains tend to look more impressive when the depth is compressed. The lens can also pick out interesting details from the landscape. Julian also uses this lens to make panoramas, and to take distant portraits with a compressed background.
  • A 24 tilt-shift lens. Julian finds a tilt-shift lens invaluable for photographing architecture. It gives superior results than taking a picture with a normal lens and using a lens correction filter because you can see the result you are going to get in-camera, and there is is no cropping of the image at the edges. Julian showed some examples of what could be done with this lens: a superb shot of the inside of a cathedral, or a photograph of a statue in front of a temple taken from only a few feet away with all the verticals vertical.
  • A 1.4x extender, which Julian uses to extend the capabilities of the above lenses/
  • A carbon fibre tripod (lightweight for travelling).
  • A polarizer filter and a neutral density filter. Polarizer filters can enhance the sky or remove reflections, and the neutral density filter allows longer exposures.
  • A decent camera bag. Julian explained that most bags are designed to be used in an airport, and it is hard to find a bag that is versatile enough to use on a flight and carry outside.

Julian went on to explain how he plans his travels. He learns about destinations by reading travel magazines and using travel guides for research. He looks at photographs published by other photographers to get an idea of the possibilities. You can follow particular photographers on social media, but you can also follow specific hashtags, such as “#vietnam”, to see all the posts made about a particular place. But he warned us that landscapes are constantly changing. What you see described in a guide or shown in a past photo might not be there any more, so be prepared for the unexpected. He uses the following tools to plan his shots:

  • Google street view can be used to explore a destination virtually, but not all countries allow it.
  • Once Julian has decided on a destination, he uses Google Mind Maps to plan his travel. It can be linked to maps, and the application can be used on a phone to create an itinerary.
  • The Photographer’s Ephemeris can be used to plan your shots and investigate where the light will come from at different times of the day. The PhotoPills application is also a very useful planning tool.

After taking us through the basics, Julian then took us on a journey to Upper Mustang in Nepal, showing us the spectacular landscape images he had take on the trip, the portraits of the people he had met on the way, and his architectural photographs of the towns and temples. Travelling to Upper Mustang was like travelling back in time, with very different norms and customs. He became friends with a local guide who introduced him to interesting people. Julian would often ask permission to take his shots from unusual vantage points, such as the roof of a temple. On his journey through Nepal, Julian needed to climb to some high altitude view points, and on one of these excursions he suffered from serious altitude sickness. Julian told us the story of his treatment and recovery and warned anyone else travelling to Nepal to be aware of the effects of the altitude and not to push themselves too quickly. Julian finished his presentation with a selection of portraits and images of more spectacular temples. It was a very entertaining and enlightening evening.

That was the last club meeting at Fisherrow until the New Year. Next week we will be meeting at the Ravelston House Hotel in Musselburgh for the club’s Christmas social evening.

Steven

Set Subject Competition: Castles

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A reminder that this coming Thursday, 8th December, is our last meeting at Fisherrow before the Christmas social evening. It is also the submission date for our first set subject competition of 2022/23. Please send your 3 JPEG images on the theme of “Castles” (sized to 1600×1200 pixels maximum) to George Todd this week. Submitting them now gives Joe a chance to judge the images over the Christmas break. The results will be announced when we return on 5th January.

Best of luck.

20 October 2022 (Paul Money: Astrophotography)

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This week was another joint Zoom talk hosted by Beeslack Penicuik Camera Club. Paul Money, an astronomer and ‘Reviews’ editor of the BBC ‘Sky at Night’ magazine, connected from Lincolnshire to give us a guide to astrophotography. Paul has written a book on astrophotography called “Nightscenes: Guide to Simple Astrophotography” and mentioned that a new version of that book is about to be published.

Paul began by describing his early forays into astrophotography, using a Zenit film camera and high ISO slide film. Those were difficult days for astrophotography because the relatively low ISOs meant you needed long exposures, and you couldn’t see what you were getting until the film was developed. Paul was enthused by the latest developments in digital photography. His latest Canon camera can go up to 120000 ISO, and even modern mobile phones can now capture hand-held images of the night sky! Canon and Nikon cameras seem to be equally good at capturing good images of the night sky. We were given the following hints and tips for good astrophotography:

  • Turn off the noise reduction in your camera settings. Faint stars look like noise and will be removed.
  • Set your camera to manual exposure and manual focus. Most night shots are too dark for your camera’s autofocus to work properly. You can focus on a bright street light at least a mile away or use the “live view” option on your camera to adjust the focus to make the stars look as small as possible.
  • Most exposures will need a high ISO setting, but Paul recommends going no higher than ISO 1600 to get the best quality. Shots of the Moon or bright planets can be done at lower ISO settings.
  • Use a wide aperture, ideally a stop down from the widest setting of your lens. Paul tends to use f/5 but recommends stopping down to f/11 for scenes which include the full Moon or bright lights.
  • Use a decent tripod so you can take long exposures without camera shake. You can fit the tripod with a ball and socket bracket that allows you to point the camera upwards at any angle.
  • Also use a remote shutter release; preferably one that can make a timed exposure or take several exposures at regular intervals.
  • Don’t use a filter. You need to get as much light into your camera as possible through as few glass surfaces as possible.
  • Use a red light to help you see without spoiling your night vision. You can buy a special red torch or just cover an ordinary torch with a red wrapper.

Paul then gave us a quick introduction to the night sky. The stars rise in the east and set in the west and appear to rotate around the north celestial pole. If you point a camera north and take a long exposure you will see star trails revolving around the pole. The stars tend to move more slowly in the sky around this point, so you can get away with longer exposures before they start to trail. If you point your camera away from the pole the stars will move across the sky more quickly and you’ll need a shorter exposure. The exposure also depends on the kind of lens you are using, with telephoto lenses requiring the shortest exposure. Paul gave us the following guide to maximum exposure time before the stars start to trail:

  • Wide angle lens (18mm): Near the pole (60 seconds), Away from the pole (40 seconds)
  • Standard lens (50mm): Near the pole (30 seconds), Away from the pole (20 seconds)
  • Telephoto lens (135-300mm): Near the pole (20 seconds), Away from the pole (10 seconds)
  • Super telephoto (500mm): Near the pole (2 seconds), Away from the pole (1 second)

Paul took us on a quick-fire, enthusiastic and fascinating tour of various types of astrophotography, ranging from wide-angle shots of the constellations, star trails with foreground objects, telephoto views of the planets, a lunar eclipse, Earthshine on the Moon, noctilucent clouds and shots of the aurora borealis. Paul mentioned that, although most photographers like Adobe Photoshop, he prefers PaintShop Pro. He also recommended StarStax software for combining multiple images of the night sky.

If you would like more information here are some of our previous talks on astrophotography:

Ford Renton: Practical Astro-photography

Andy Bennetts: Astrophotography & Action Photography

Next week we have a Digital Photo Feedback session. This session replaces our old “Photo Advice Night”, which was based on prints. Please bring along up to 6 digital images (or email them to me) to get feedback and advice from other members. See you on Thursday.

Steven