This technique combines two or more exposures together to create a surprising result. Try “double exposure photography examples” as a Google search to see some example images. Common examples include portraits blended with natural or architectural silhouettes, or multiple poses blended together. Exposures can be combined in-camera, or they can be captured separately and blended later using software such as Adobe Photoshop. The following YouTube videos show how to set up a Canon camera:
If you explore the “shooting menu”, you’ll find Nikon cameras have a similar setup. We discovered that all our cameras had slightly different ways of setting up double exposures, and the newer cameras had more options. If your camera doesn’t have a multiple exposure option, you can still take single exposures and blend them in Photoshop. We tried a few experiments inspired by Leonardo de Vinci’s Vitruvian Man.
2) Soft Focus Techniques
Hans van der Boom had given the club a talk on improving flower photograph using soft focus techniques back in April 2024. Bob Daalder also describes how he uses soft focus techniques in macro photography in the following blog:
Making a double exposure (as described above) but combining an in-focus image of a flower with an out of focus image.
Using coloured cellophane to mask off an area you want to be out of focus.
Using an out of focus image of a crinkled piece of Aluminium foil to create some foreground bokeh.
We discovered that both techniques need a lot of practice to get right, but it is fun to experiment. We came away from our Botanics photoshoot with lots of weird and wonderful images.
This week members revealed what they had done with the four images that were circulated 3 weeks ago. The four images were:
A gyrocopter superimposed on a dark, cloudy sky with an artefact in the background.
A Chinese performer in a bright blue costume against a tilted background with distractions.
A back-lit lady standing in front of a church.
A man in Viking costume with a shield holding a ferret against a building with brightly coloured distractions.
15 members had accepted the challenge. The brief had been to edit any two of the four images, but some members had tried all four. All the images were too dark, so a common correction was the brighten the images and adjust the contrast. The back-lighting had lost some of the detail in the lady’s hair, which could be recovered with a highlights correction. Dodging and burning tools could be used to lighten the eyes and faces of the people or to darken bright blobs in the background.
Members revealed the different ways they had dealt with the distractions in the background. The easiest option was the crop the image to remove the distractions altogether, even if this meant losing most of the Viking man’s shield, for example. Some had used the clone and healing tools to replace distractions, and others had kept them in but made them less distracting by desaturating and darkening the background. There were mixed feelings about the hairs on the Viking man’s costume, which some members had removed as a distraction and others had emphasised as part of his character. The work on the Chinese man showed how you could spent ages removing two really obvious distractions but miss a smaller one that could be eventually pointed out by a judge. It’s worth taking a second look at your images after you have corrected them. However, the most creative way to remove distractions from a background is to replace it altogether. Kevin and Stephen had both replaced the boring grey sky behind the gyrocopter with a much more interesting sky, and Stephen and Jim had placed the Viking man in front of a much more attractive landscape.
Some members had combined the images in creative ways. Elaine combined the Chinese man and the lady into a single portrait, and Steven added the gyrocopter as a hair fascinator for the lady. Marian had converted the images into bold works of art, with a Pointillist rendering of the gyrocopter and a recreation of the Viking man in flowing brush strokes. But the comedy images were the highlight of the evening. Derek had converted the lady into a clown, Joe had given her a scary mask and Kevin had placed her inside a blossoming tree. Elaine had added the gyrocopter to the selfie taken at the Ayr air show. But the most entertaining images on the night came from Jim Innes, who not only managed to add the Viking man to some dramatic landscapes, had also shown him posing in front of an Iceland supermarket. The evening ended with Jim’s image of the gyrocopter being sprayed by fly killer! Thanks a lot to everyone who responded to the challenge.
We got our 2025/2026 season well and truly started with a creative lighting workshop. Steven began the evening with a discussion of the lighting equipment available to photographers. This web site has a good introduction to creative lighting techniques: https://shotkit.com/photography-lighting/. Taking photos in low light usually requires a long exposure, which can blur your photos with camera shake. Adding extra lighting is a good way to improve portraits and still life photos taken in a dark place. This time we concentrated on portraits. We’ll spend more time on still life photography at our second workshop on 13th November 2025. There are two basic kinds of lighting available:
Flash. A flash creates an intense and very rapid burst of light. The burst is so rapid that it freezes any movement or camera shake. A disadvantage of a flash is that it can cast a shadow onto the background. Also, because the flash only fires briefly, it’s hard to see in advance where those shadows will be. Some flash units have a dim “modelling light” which shows up the shadows. Firing a flash straight into someone’s face can also cause “red eye”. If your camera has a built-in flash it will probably suffer from these problems. You can get a softer lighting and eliminate the “red eye” problem by attaching a flashgun to your camera and angling the flash upwards so it bounces it off a light ceiling. You can start to emulate a studio setup by adding “slave” flash units which synchronise with your main flash. Lighting your subject from the left and right side can give a softer effect with fewer shadows.
Continuous lighting. Continuous lighting allows you to see how your subject is illuminated before you take the picture. You can add as many lights as you like. However, these lights tend to be dimmer than flash, so you’ll find yourself putting up with longer exposure times. We demonstrated several different kinds of continuous lights at our workshop. There were some bright, mains-powered bulbs, a battery-powered LED panel and a battery powered torch.
Members tried out 3 main lighting setups. Ed and I had set up some of the club’s studio lighting equipment. This equipment consisted of two main-powered flash units combined with some modelling lights, a diffuser umbrella and a “beauty dish”. The equipment triggered each time it detected a flash. This combination was good at taking well-lit portraits with soft lighting. Derek had brought two contrasting setups with continuous lighting. One setup demonstrated how a single light from the side can create dramatic, high contrast portraits. The other setup had two lights with red and blue gels, which created colourful special effects. Steven showed how the battery powered lights can be deployed and removed very quickly, when the LED panel and the torch were used to photograph a rabbit who didn’t like the bright lights.
The club was delighted to welcome Joe Gilhooley from Loanhead, Midlothian to talk about his work. Joe’s interest in digital photography began in 2010, when he wanted to record his daughter growing up. He purchased a Canon DSLR and took the camera on family trips. He developed a liking for landscape photography but fell into the usual trap of coming home with 400 scattergun images of the same scene. He now recommends pretending you have a roll of film and only capturing the small number of images you think are worth keeping. Joe has 3 Canon DSLR camera bodies, a Sony compact camera, and a selection of 9 lenses. He always uses a tripod for landscape photography and recommends using the camera in “mirror up” mode with a remote shutter release to prevent camera shake. Joe’s love of landscape photography won him the “Scots Magazine Photographer of the Year” award in 2017 and 2019. Joe joined the Royal Photographic Society in 2020 and achieved an LRPS qualification in 2021 and is working towards the ARPS qualification. You can see more of Joe’s work on his web site:
Joe started by showing us the 10 images he had submitted to win his LRPS qualification, which included a night view of the Forth Bridges, a night view of Edinburgh from Calton Hill, star trails over the Belhaven Bridge and a clever still life which simulated colours being painted onto a bowl of fruit. Joe likes to take his landscape images during the blue hour: the hour just before sunrise or just after sunset when sky is still bright enough to give a blue background. Joe watches the weather forecast and will often drive to a location at short notice to arrive in time for the perfect conditions. Calm conditions at sunrise are ideal for capturing still reflections and morning mist. Joe took us on a journey across Scotland, showing us a wide variety of excellent images of castles, gardens, monuments, lochs, mountains and iconic viewpoints. His subjects included landscapes, cityscapes, wildlife, star trails and fireworks. In 2022, Joe successfully applied for a press contract to photograph the Edinburgh Military Tattoo, which gave him the opportunity to capture some beautiful images of the event. Joe had also offered his services to several football clubs, and had obtained a press pass to capture images of key moments during their games. Joe finished by showing us some of his sports photography images. Joe uses two camera bodies for his sports photography. One body has a 400mm lens attached, which he uses to capture distant action. The other has a 70-200mm lens, which he uses when the action gets closer. He uses fast (f2.8) lenses and a very high ISO to achieve the fast shutter speeds required for sports photography. A monopod helps to support the weight of his heavy 400mm lens.
It was a fascinating evening where Joe gave us hints about good places and times to take photographs and encouraged us not to be afraid to contact organisations like sports clubs and local newspapers who may need a local photographer.
We are having our “Sense of Speed” club photoshoot this Saturday, 22nd February at 10:30am in Lewisvale Park, Musselburgh, EH21 7AR. Bring your camera to practice photographing bicycles, dogs and people moving against a background. For best results bring a lens with a large maximum aperture, such as f2.8.
This week members brought in their cameras, plus other pieces of interesting and thought-provoking kit. Most members were divided into Nikon and Canon camps, but I also noticed some Sony and Panasonic cameras. George Todd pointed out that the club has a Sony DLSR camera which members are welcome to borrow if they don’t have a DSLR camera of their own. The evening was an opportunity for members to discuss kit and help newcomers and beginners with any questions they might have. There is an opportunity for beginners to pair up with more experienced members who have the same kit.
Some members showed some unusual or particularly useful equipment that you might not know about.
Steven showed the oldest camera he owned, a Russian Zenit TTL film camera, only to discover this model is apparently the “new fangled” version which has a light meter built into it. The beauty of this camera is that the shutter works by clockwork, so the camera can be operated without a battery. You could lock the shutter open for hours without worrying about the battery running out.
Steven also showed his “Wimberley Plamp“: A useful device which can be attached to a tripod to prevent a specimen from moving in the wind.
Steven also showed his smallest and most unusual Nikon lens, a pinhole! Pinhole lenses are made by making a small hole in a sheet of thin metal attached to a plate which fits to the camera. You can buy one for your camera or you can make one yourself by drilling a hole in a blanking plate, covering the hole with aluminium foil and making a pinhole in it. Pinhole lenses give your photos a blurry but arty appearance with a huge depth of field.
By contrast, Mike showed us his largest Nikon lens and, in particular, the gimbal tripod head which he used during the air show. A gimbal head takes the weight of a large lens and, when balanced correctly, can hold it steady and make it easier to follow moving objects. It is very helpful for wildlife, aviation and sport photography where your subject is moving.
Mike also showed us the sling strap he uses to carry his large lens, which takes the weight of the lens but give some freedom of movement.
There was a discussion about using the rear screen of a camera as a viewfinder. It is easy enough to see the screen in a darkened room, but the screen can be difficult to see in bright daylight. You can buy sun hoods which fit over the screen and make it easier to see. Some of these hoods also include magnifiers which make the display easier to read. Here are some examples: https://www.bhphotovideo.com/c/buy/LCD-Hoods-Shades/ci/4968/N/3777857691
George showed us the 6 images that will be given to members for the editing challenge on 3rd October. Please contact George if you would like a copy of the images. Select 2 of the images and show us how you have changed them.
George is also accepting entries to our Digital Projected Images competition. Please email your 3 JPEG images to George at georgetodd1957@me.com. Images should be scaled to a maximum size of 1600 pixels wide and 1200 pixels tall. George can help if you don’t know how to do this. We had a discussion about the DPI (dots per inch) setting associated with an image, but you don’t need to worry about this as it is only important when printing.
There was going to be a “Strike a Pose” photoshoot this weekend, but this is being postponed because the organiser is ill. Get well soon. We’ll let you know when it is rescheduled.
Next week we have our first speaker of the year. Fiona Brims will tell us about her journey into creative portraiture. You can check out Fiona’s web site here:
On 11th April we were delighted to have 3 international speakers who joined us from Sweden and the Netherlands.
First up was Denise van der Boom who provided a bird’s eye view using drones to capture images from the sky. Denise has a very practical reason for favouring drone photography due to mobility issues. The drones do provide a great tool for getting compositions and locations that just would not work on foot. Members might recall Eddie Telford telling us back in February than he often waded into a river to get best shots. Denise gets similar shots without getting wet by hovering her drone over the water. The legalities of drone flight were mentioned (similar to UK rules) along with a brief comparison of a few different models. The small size and low weight of the DJI mini 4 meant that it could be taken on holidays as well as providing that unusual bird’s eye view of her homeland. While the novelty of the different views afforded by drones is interesting, there is still the need for a good composition. Abstract images of tulip fields full of coloured strips of flowers to the astonishing aqueduct that confused the senses, rainbows in agricultural watering systems and fine historic buildings all benefitted from the unusual viewpoint. Denise’s work can be seen at https://www.flickr.com/photos/denisevanderboom/
Hans van der Boom followed with a great 10 tips for “Photographing flowers in soft focus” using his own shots to illustrate his points (some of which may be found at https://www.flickr.com/photos/hansvanderboom/).
Use a Macro lens or adapters
Accessorise – mat to lie on, lights, plamps, clothes pegs, crinkled tin foil and, surprisingly, dog poo bags – the packs with various colours!
Use a BIG aperture, you don’t want all of the detail of a pin sharp image.
Make use of “out of focus” areas, to simplify your image.
Know your subject – go out with certain “in season” flowers in mind. An online Flowering Calendar could give an idea about what flowers might be currently available.
Pay attention to composition and space within the image. Using a low viewpoint (using a bean bag, or even a polystyrene bean bag for weight reduction) can keep the image simpler. The space around the subject is out of focus and this minimises clutter. Less is more!
Use of Light, avoiding harsh light and dark shadows. The use of a white umbrella can be used to diffuse light
Experiment – Christmas lights (battery operated LEDs) in front of or behind the subject. Use crinkled aluminium foil or glitter boards. Use a plant mister for a few dew drops. Place anything in the out of focus areas to simplify them. Reflectors can also be useful.
Bokeh and light bubbles are easier to achieve when shooting low to high.
Post Processing – add a little brightness and saturation, combine techniques. Moderation makes the master.
Hans also suggested shooting in raw and keeping ISO low to minimise digital noise. He also suggested that double or multiple exposure could be useful. Attaching the coloured dog poo bags, or sandwich bags etc to the lens hood with a clothes peg is a good way to fill the out of focus areas. Hans suggested that folks should look at the work of Bob Daalder for some inspiration. https://www.instagram.com/bobdaalder/ https://4tinyhands.com/macro-photography-with-bob-daalder/
The evening was brought to a close by Helen Lunden, who many know from her time in Scotland and who is now a member of Mölnlycke Fotoklubb, Gothenburg, Sweden. Helen presented her work on images produced using Intentional Camera Movement (ICM). This was sparked by her attendance at a course in Dumfries and Galloway run by Morag Paterson and Ted Leeming. Helen covered the Why and How of ICM along with what equipment was needed along with examples and inspiration. The equipment used does not have to be special, in fact because the finished result is rarely pin sharp, older or less sophisticated kit can work out fine. Helen often uses an older Olympus EM10 and a mixture of lenses and ND filters.
How? Move the camera during the (long) exposure. An exposure of 1/8th of a second is often enough, and Neutral Density filters can help here. The camera is moved horizontally, vertically, spun, etc. You won’t know what you will get until the photo is taken. Multiple exposure can add to the finished result with perhaps multiple ICM images or 1 ICM image and a sharp image combined. Helen prefers to achieve the result in-camera with only subtle increase in contrast and saturation carried out afterwards. Her method is to “take lots of shots and delete what you don’t like”. While vertical movements are often used for trees and horizontal for landscapes, you can always add in other movements or shapes. An advantage of the technique is that it can work indoors or out, in pretty much any lighting conditions and even macro can be effective. People photos can provide a ghostly effect.
Helen’s recent projects include The Swedish West Coast (ghostly images), Dark & Light (quite moody) and Light & Harmony (quite fresh). It is very interesting to see things in the final images that have been introduced by the working method, the results can be striking. Helen was keen to encourage more photographers to have a go at ICM to see what they could produce. Helen Lunden’s images are on show at… https://helunhelun7.wixsite.com/helensfoto and she talked about the work of several other photographers who champion ICM images including…
An interesting international evening highlighting aspects of photography that are not often discussed at Fisherrow.
This Thursday (18th April 2024) we will be having a “Studio Lighting Fun Workshop” at the Fisherrow Centre at our usual time of 7pm. Bring your camera or phone and come along to experiment and have fun.
This week we had a “Sets of Six” evening, where members bring along images or give interesting demonstrations. I started the evening by giving a macro photography demonstration. I brought along a small (25cm x 25cm) lightbox into which I placed a “Musselburgh mussel” on a stand.
Macro photography is extreme close-up photography where the original idea is was to make the image on the camera’s sensor at least the same size as the subject itself. To achieve this you need a lens which can focus very close. A macro lens is one designed to have a close focus distance for macro photography, but if you don’t have a macro lens (or want to try macro photography at a different focal length than your macro lens) the following gadgets can also help:
Extension tubes will reduce the focal distance when fitted between your camera and lens. These are the best option because they contain no glass and won’t affect the performance of your lens. But make sure you buy ones compatible with your camera.
Close-up lenses can be screwed to the front of your lens, just like a filter. These have the advantage of being cheap and easy to fit, but because they contain glass they affect the performance of your lens.
One of the most difficult things in macro photography is getting the focus right. Macro photos tend to have a very narrow depth of field, especially if you choose a longer focal length to keep clear of your subject. One way to correct the narrow focal length is to use a narrow aperture (such as f/16 or f/22) but that leads to a longer exposure time and motion blur. Good lighting is very important in macro photography. For still subjects you can use a light box. Click here to see a review of the one I demonstrated, but there are other makes and sizes available. For moving subjects you can use a ring flash which fits on the front of the lens, which won’t cast shadows like a flash attached to the camera body. If you are lucky enough to have bright natural light available, a small reflector or diffuser can be used to soften the lighting and brighten the shadows. A gadget, such as a Wimberley Plamp, can be attached to your tripod to hold subjects like flowers that might be blown by the wind.
Another way to achieve a better depth of field in macro photography is using a focus stacking. Here is a YouTube video which explains how to do it.
Finally, I demonstrated a USB microscope, which can produce extreme macro close-ups. The depth of field for these devices is extremely narrow and they work best with two-dimensional subjects. But they can detect tiny objects invisible to the naked eye, such as dirt on the front of your lens you didn’t know was there. Here is a review: https://gadgets-reviews.com/uk/review/1388-best-usb-microscopes.html. These range from cheap to very expensive. I demonstrated a mid-range Jiusion microscope which saves HD images.
Several members then showed a selection of interesting images: Kevin Johnson showed how classic album cover art can inspire photography; Mike Clark showed some “before and after” results in underwater photography; John West showed how you can use ICM to transform an image of the interior of a cathedral; Malcolm Roberts described his visit to the Wildlife Photographer of the Year exhibition; There were also some unique views of The Kelpies. George Smith showed his first attempts at astrophotography; Elaine Gilroy showed her photographs of birds; George Todd showed a selection of holiday images; and Derek Muller showed a rig he had set up to capture water splashes. Derek also showed some of his favourite images of acorn people created by David M Bird. More of these images can be found on David’s YouTube channel:
Finally, Joe Fowler showed us how images can be improved by removing the distractions and using the clone tool to add more interest. Thank you to everyone who showed their images. It was a long but very entertaining evening.
Next week we have a digital knock-out competition. Please bring up to 3 images on the subject a “water” and then vote for your favourites.
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.
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.
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.
This evening was very busy and varied. We started with a “Sets of Six” session. This was an idea that folks could show a short video or AV or show a set of (up to) six images on whatever subject they choose, and folks could ask questions and discuss. The first item was a short AV presentation from Allan Cameron that was prepared from film images taken on a compact camera on a visit to Tunisia in 1986. This featured some appropriate music and on-screen captions. The film-based images have a certain look and colour that added to the aged look of the photos that digital images just don’t have. Ross Robertson provided a selection of landscape shots. Malcolm Roberts had a set of images from a studio day organised by Ron McCombe, from a harvest mice to a tarantula. Steve Williams had a set of aviation images, including some taken from Traprain Law so that he was even higher than the planes. Derek Muller brought along a set of images that he thought captured Feelings, and they sparked some discussion. New member Jim Innes had a variety of shots from the iconic dark hedges in Northern Ireland to the lit up phone box in Portobello with a light streak from a passing bus. Liz Sowler had some images from her travels including Lake Garda and the Faroe Islands. Gavin Marshall showed some photos of clay pigeon shooting, one freezing the shot in mid-air while another showing the moment the clay disintegrated. Joe Fowler brought a set of images that highlighted his photoshop compositing skills. George Todd brought 2 versions of the same image showing how a problem image that had a colour cast (from the long exposure used) and many blotches caused by light rain, that was not too obvious at the time. He then showed a mono version that got rid of the colour cast and had various other adjustments made along with a lot of careful cloning to get rid of the many raindrop splodges. His patience was rewarded with a striking image produced from a fairly unpromising start image.
Next up were ideas submitted for a poster to advertise the club in local shops etc. There were quite a few candidates shown. An interesting suggestion was made that we could use more than one design. A decision was deferred until next week and George invited anybody who wanted to submit any other ideas.
Finally, Joe gave a very clear and useful demonstration on how to prepare a window mount using a Logan mat cutter along with a scalpel, scissors, masking tape, etc. This led to some discussion around whether competition judges subconsciously preferred window mount images to the simpler method of sticking prints straight onto the mount board.
There is a “free to enter” photography competition being held by the Royal Over-Seas League (ROSL) and more information can be found on their website: https://www.rosl.org.uk/photography
This coming Thursday, 30th March, we will be holding our annual joint meeting with Musselburgh Art Club. We will be meeting in G6 at 7pm. Our meetings with the art club tend to be hands-on, with artwork displayed around the room, which is not a good format to view by Zoom. Members are encouraged to come to G6 in person.
Musselburgh Camera Club 