Capital Image Spring 2012 - Canberra Photographic Society

Capital Image Spring 2012
A publication of the Canberra Photographic Society
Heads for Sale - Antique Shop Bangalow (detail) by Julie Garran. Winner of the Ted’s Hedda Morrison Portfolio
Competition 2012

Current and back issues of Capital Image are
available from the society website
http://www.cpsaus.org/
communications@cpsaus.org
The Editor Capital Image
Canberra Photographic Society
GPO Box 857
CANBERRA ACT 2001
aims to promote excellence in photography as
a recreational pursuit and as a serious art
form. The society's first meeting was held in
October 1945. Visitors are welcome.
president@cpsaus.org
secretary@cpsaus.org
treasurer@cpsaus.org
competitions@cpsaus.org
communications@cpsaus.org
enquiries@cpsaus.org
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Member Galleries and Gallery Nine
Monthly Projected Images Competition
Monthly Print Competition Rules
New Member and Visitor Information:
Membership Form
Meeting and Activity Calendar
is published electronically by
the Canberra Photographic
Society quarterly from 2012
Next edition: Summer 2012
due out 14th December.
Deadline for submissions
4 December 2012
This magazine is copyright and may not
be reproduced without the permission of
the Canberra Photographic Society.
Copyright for each image is retained by
the photographer.
1

AN ISSUE THAT comes up quite frequently these days is
the degree of emphasis that the Canberra Photographic
Society in particular and camera clubs in general place
on competitions. Some feel that competitions are counter to
a spirit of cooperation and mutual learning, while others enjoy
the challenge of putting their work up for scrutiny by others
and learn from the feedback provided by judges and other
members. The popular workshop series, coordinated by Ian
Marshall, was established, in part, to provide an alternative
forum for members to show and discuss their work in a
mutually supportive environment. The CPS committee is
looking to expand the workshops in the new year to include
more support for new members and those new to photography.
Some readers also feel that there is too much emphasis on our
competitions in Capital Image. As editor, my view is that the
magazine aims to be about our members and about their
images. In this context the images selected by judges in our
competitions and in external competitions are a reflection of
some of the best current work of our members. So it is
appropriate to report on them, while also aiming to cover our
other activities such as excursions, activities and workshops.
You as members can make a valuable contribution to your
magazine by providing images and writing articles to broaden
the range of topics covered. The next edition of Capital Image
is due out just after the December comp night so please submit
copy to communications@cpsaus.org by December 4.
The CPS committee is starting to think about new directions
for 2013. The society exists to serve its members, so the
committee is seeking your views as to what you would like to
see. Please provide input regarding what you think is needed
in the future. It need not be extensive - an email saying “please
do more of “x” would be helpful. Send your input to
secretary@cpsaus.org.
2

THE CANBERRA PHOTOGRAPHIC Society’s Hedda Morrison Trophy is
named for the late German/Australian photographer who was
renowned for her travel photography. Competing annually for the
trophy serves to remind us of Hedda and keep her memory alive in the
society. Hedda’s work can be found on the Internet and at Sydney’s
Powerhouse Museum. This was the 20th Hedda Morrison trophy
competition and the CPS is grateful to Ted’s Camera Store for again
sponsoring the competition.
This year there were 15 entries. The judge, Michael Mulrine, was
informative and gave considered feedback that was well received. In his
introduction, Michael mentioned that he expected good technique but
that technique was not the deciding factor in his decisions. However he
did point out technical deficiencies in some of the portfolios, such as colour
casts or exposure problems. He said that he had looked closely at the
portfolios over 4 days using different lighting conditions and said that in
judging he focused on three factors: coherence; whether he could live with
the images on the wall for a long time; and fine art principles such as design
and balance. In considering coherence, he asked photographers to
consider the purpose of their portfolio and how the images worked
together.
The winning portfolio was “Heads for Sale” by Julie Garran. Michael felt
that this portfolio was a great example of a strong theme that had been
developed over time. He said that the overall tonality was well-handled
and that the series was consistent and demonstrated good design.
Julie says:
These photos of second-hand mannequin heads were taken in op shops
or shop windows of antique shops. The original purpose of the heads was
for selling wigs, hats or clothes. They are props for women's fashion, but
they are also significant in and of themselves. One image (see cover) is of
three heads that were themselves for sale. What these heads have in
common is not only that they are sculpted,stylised representations of
women, but that in a curious way they have a humanity of their own.
Although idealised, they're old and shopworn, some of them cracked and
bruised, yet they exhibit a kind of beauty.
3

Heads for Sale Portfolio by Julie Garran. Above: Bangalow Saturday Market. Below: Op Shop Chapel St Prahan, Melbourne.
On the Phone: Triptych by Judy Parker
4

Heads for Sale Portfolio by Julie Garran. Above: Op Shop Brunswick East, Victoria. Below: Op Shop Mornington, Victoria.
5

Heads for Sale by Julie Garran. Above: Chapel Road, Melbourne. Below: Antique Shop, Bangalow.
6

Michael Mulrine awarded a Highly Commended to “Four Views of Within-Without” by Robert Douglas,
commending the strong sense of design in the series.
Robert says:
'Four Views of Within-Without' is an attempt to interpret the 'space and light' of James Turrell's Skyspace.
The first view looks at the exterior, seen mainly as reflections. The second view is of the 'entrance', where I
was interested in the angles and colours. The third view is looking out of the viewing chamber, while standing
'tip-toe' on the bench. The final view is also of the viewing chamber, including both the floor and the opening
to the sky. This was taken with a zoom lens at 16 mm while I was lying on the bench with the camera at about
60 degrees. I chose to display the image inverted to add a sense of mystery.
I look forward to continuing to interpret Within-Without.
Four Views of Within-Without by Robert Douglas. Above: View 1, Below: View 2.
7

Four Views of Within-Without by Robert Douglas. Above: View 3, Below: View 4.
8

just spent the night in the
hotel at Campo Imperatore
at about 1900 m, a hotel
(in)famous for being the
place where Mussolini was
held captive by the Allies in
1943 before German
commandos freed him (he
didn't escape his fate for
long though).
I had set out that morning
for a hut called Rifugio Duca
degli Abruzzi, which would
allow for good views of the
Corno Grande, the highest
peak in the area (2912 m).
After a steep climb to attain
my perch at approximately
2400 m, I could see the city
of L'Aquila and various peaks
such as Corno Grande,
Mount Cefalone and Mount
Aquila. There was quite a bit
of snow around, which made
the scenery dramatic and
imposing and also quite
perilous to navigate at
times. I was particularly
struck by the steepness of
the terrain and felt rather
insignificant and vulnerable
in the landscape.
Sheila Lunter was also awarded a Highly Commended for her portfolio
“Rock, Snow and Altitude.” The judge liked this “quiet” series. He felt that
the images worked together and that the tonality had been handled well.
Sheila says:
The photos in my portfolio 'Rock, Snow and Altitude' were taken in the
Abruzzi region, which is located in Central Italy approximately 120 km
east of Rome.
I made my way through the area walking from village to village and had
Rock, Snow and Altitude by Sheila Lunter
9

When processing the
images back in Australia I
felt that the colour images
didn't express the austerity
of the landscape very well
so I started experimenting
with turning an image into
monochrome. I felt the
image now conveyed my
experience in that
landscape, which was one
of stillness and
humility. One of the images
(opposite, centre) has a tiny
human figure in it, giving
this sense of human
insignificance in the
landscape. The irony is of
course that by our actions
we can impact on it so
much.
After applying the same
process to the other images
I realised I was seeing a
portfolio. That was a nice
surprise, as I had not
expected to have
something to put into the
Hedda Morrison
competition. I outsourced
printing of the portfolio to
Stephen Best (Macquarie
Editions), which resulted in
beautiful prints. When I put
it up on the night in
between the other
portfolios, I thought it
looked rather small and
inconsequential compared
to some of the other
wonderful portfolios, so to
be awarded with a highly
commended was a fantastic
surprise and great
encouragement.
Rock, Snow and Altitude by Sheila Lunter
10

THERE WERE 37 entries in the September competition with 9 from B
grade. While the quality of the images is high, it seems that we are
experiencing a downward trend in the number of images submitted.
The Set Topic was “Space”. We thank the judge, Joe Calli, who stepped in
at very short notice. Joe gave his usual considered comments and helpful
feedback. He didn’t award any fives, but selected four finalists (with scores
of 4.5) from which he chose Image of the Night. This award went to
“Dancing Cranes” by Murray Foote. Joe recognised the difficulty in
obtaining access to such rare birds and commended Murray for the way he
had controlled the exposure of a largely white bird against a snow white
background without allowing either to become grey or muddy.
Red-crowned cranes - mating ritual in Hokkaido by Murray Foote
11

“Finalists” in the September Competition. Above: Colours of Decay by Jim McKenna.
Below Left: Ghost Trees by Murray Foote. Below Right: Nankeen Kestrel by Robert
Douglas.
12

September Scores - A Grade
Murray Foote 22
Margaret Leggoe 18
Steven Shaw 17
Robert Douglas 17
James McKenna 16
Helen McFadden 16
Phil McFadden 15
Brian Jones 15
Ian Marshall 14
Judy Parker 14
Dave Bassett 14
Julie Garran 13
Brian Rope 11
Ian Skinner 11
September Scores - B Grade
Sheila Lunter 16
Michael Taylor 16
Gemma Payne 15
K Thomsen 13
Alan Charlton 8
AWARDS
Image of the Night Murray Foote
Finalists Murray Foote
Jim McKenna
Robert Douglas
ANNUAL AGGREGATE SCORES
Year to date: B Grade
Gemma Payne 94
Michael Taylor 85
Sheila Lunter 81
Bruce Clark 43
Meredith McDonald 29
Ulrike Nedomlel 26
Nicky Brown 24
K Thomsen 13
Lee-Anne Shepherd 12
Darryl Alexander 12
Alan Charlton 8
Cliff Spong 5
ANNUAL AGGREGATE SCORES
Year to date: A Grade
Phil McFadden 104
Helen McFadden 97
Steven Shaw 93
Brian Jones 91
Margaret Leggoe 90
Murray Foote 85
Julie Garran 85
Dave Bassett 85
Judy Parker 84
James McKenna 83
Ian Marshall 82
Graeme Watson 81
Tony Brown 79
Robert Douglas 77
Brian Rope 72
Ian Skinner 72
Trish Grice 64
Matt James 61
Basil Bilanenko 58
Alan Pendergast 52
David Maish 47
Lisbeth A Westra 46
Russell Hunt 36
Andrée Lawrey 28
Jan Kulikowski 14
Ray Osmotherly 12
Nick Watkins 4
Competition Scoring
We have simplified the scoring
calculations to avoid decimal points and
the non-linear mapping previously
used. The judge still awards points on a
scale of 1 to 5 with half points
permitted. The raw scores are doubled
to generate the Competition Score. The
image of the Night is awarded 5 bonus
points. Set topic entries are no longer
awarded bonus points.
13

WE SET OUT in late April heading north from cold country Canberra
aiming for new worlds where the daily temperatures are
rejuvenating. The Centre is vast, arid, containing rugged red
ranges and reviving lagoons of sweet water under ancient white gums.
The Top End energises in the cool dry months of the year but as
temperature and humidity rise, life becomes lethargic. The explosive wet
season brings relief as waters thunder down chasms, carve new gorges,
completely closing off some communities and generally limiting travel for
all. Add to these two worlds the new tourist favourite of the Kimberley in
the northwest and in particular the Bungle Bungle Range and what do we
see – a collection of remote, isolated small communities living in unspoiled
and irreplaceable landscapes.
Mungo by Marrion Milliken
14

Peter Jarver immortalised the territory with his popular landscape
photographs, in much the same way as Dombrowski introduced the
febrile delicacy of Tasmania. Steve Parish and Ken Duncan are
photographic pioneers of life, beauty and curiosities across Australia.
Even with many talented photographers in Australia, the rugged north
still remains an abstract image to southerners. Richard Greene recorded
in ‘Remote and Wild’ (2010) a vast panoramic sense of magnificence as
he flew in his helicopter across the largely unknown landscapes of the
top end.
In Australia, the relationship to country is sustaining to all. The fabric
of the north is interwoven between the cattle industry and aboriginal
custodianship of land; both peoples having developed cultures derived
from country. On our recent explorations we travelled first to Mungo
where dunes, sunset and champagne inspired us, then to Menindie ‘dry’
Lakes which were 120% full and feeding squadrons of birds. White Cliffs
offered rutted roads and the dugouts of opal miners while in Tibooburra
the local pub walls had been painted by Clifton Pugh, Russell Drysdale
and others.
Clifton Pugh’s work in the Tibooburra pub. Photo by Marion Milliken
15

Although Milparinka died some time ago the Corner Country was ablaze
with green plants and not the red dunes for which it is renowned. Two
years of good flooding rains have revealed a new dimension not
normally associated with dry outback Australia. The Birdsville track was
off limits because of wet boggy roads, Thargomindah was still
transferring water south in the Bulloo River, Quilpie and Windorah were
covered by a veil of light rain and the ribbon river country was gouged
into new paths by recent floods.
Longreach and Winton were ablaze with tough yellow grasses courtesy
the saddle packs of Afghan cameleers of last century – the cattle love
it. Mt Isa gave us silver lead and zinc from red hills covered in acacia
forests. Barkly Homestead appears to have abandoned cattle during
the drought and converted to providing for grey nomads and their
million dollar caravans – a welcome oasis. In Borroloola we could only
buy light beer after 2pm given the destructive pastimes of the aboriginal
town. The Lost City was hard to photograph because of good seasons;
plants were now obscuring the structures.
Cooper River by Marion Milliken
16

Personality at the Blue Heeler pub by Marion Milliken
I have to specially mention outback pubs - they were wonderful – good
food, funny, and inhabited by people who still value honesty and their
fellow man. It seems to us that retirement, photography and travelling
are a good mix.
Volcanic Cones by Marion Milliken
17

A sports shot taken at the recent 2012 Australian Olympic
Trials in Sydney. What is she doing?
Watching sport on television is one of the great
Australian pastimes, and over the years I've
been struck by the changing approaches to
sports coverage. The recent Olympics
reminded me of some musings I've had on the
subject over time. How does, or should, one
photograph (or video) sports? Changes in
sports photography have I think been largely
driven by technology - technical improvements
in cameras and imaging for both still and video
representation. Within the realm of what is
possible, videographers and photographers
make choices on how they present sport - wide
shots, or groups, or individuals, or face closeups.
Last year an issue of The British Journal of
Photography (BJP) ran brief articles on a
number of sports photographers with an
emphasis on their differing approaches. They
didn't only tailor technique to the particular
sports they photographed - as has to be done
- but they varied stylistically as well.
I was particularly struck by the different approach in the work of David Burnett who, apart from
using film cameras for some of his work, more significantly has gone against the recent trend
in sports photography of getting closer and closer to the subject until the face dominates -
sports photography as portraiture. This is something I'd become increasingly grumpy about in
television coverage of sports, as well as in still photography. As a practitioner, I've long preferred
the medium shot - the picture that gives the full-length individual (or group in team sports) -
as the main form of image.
Television imaging has tended to go for the very wide shot (ants in the distance) interleaved
with overly-close images of faces or chopped-off bodies - the latter results in losing the sense
of the whole body, of the full action, and the context in which the athlete performs. In cinema,
there are three basic shots - the wide shot for context, the medium view for action within
context with detail becoming visible, and the close-up (the domination of the face). Television
these days often minimises use of the medium view. The still photographers have gone the
same way. An aside, though relevant - Fred Astaire, in having his dance sequences filmed,
always insisted on "whole body" or "full length" pictures when he was dancing - close enough
to see detail, not so close that the movement as a whole was lost.
18

To return to David Burnett - he sees sports photography as increasingly dominated by
technological imperatives. Longer and longer lenses get you closer and closer. As he wrote in
an article some years ago:
Lenses became longer and faster… And even as access has tended to become more restricted, the
best sports photographers were getting closer and closer to that magic moment… when the action,
the tension, the feel, and the body, all come together to give the viewer an immediate look at what
is really going on. Much of what was being done, good as it was, had a kind of ‘in your face’ feel
to it. Because the ability to get closer was there, everyone was taking advantage of it. I started
looking back at what had been done in the early decades of [the 20th] century in sports
photography to see if there was a lesson to be learned.
Though I would add that, in the time since he wrote that article, "closer still" has become the
catch-cry and the whole of the body is decreasingly evident in sports photography. The result
is a loss of "the action, the tension, the feel, and the body" as the striving for immediacy
becomes too close for meaning. So close that the action itself is becoming invisible due to
framing that gives only an isolated fragment of what's happening.
The BJP editor commented: For Burnett, what was missing from the action-heavy shots was a
sense of context, [because] viewers [were nowadays] being brought closer and closer to the athletes
at the expense of any sense of where they were. Using a Mamiya 645 with [relatively] short lenses,
he had just one shot at the action and was forced to include much more of the field around it. (Yes,
this is not Burnett's only approach - he does use digital as well - I can hear the sighs of relief).
I think Burnett is pointing to an interesting development, and although he sees it only in terms
of technological imperatives, the "do it because you can whether or not it's a good move", I
think there's another element at play as well. I can't help but wonder whether there's also in
this a reflection of social change, in regard to how we see the human body. This can lead to
problems in portraying dancers as well as athletes - those for whom the body is the medium of
expression. Increasingly, I feel there's discomfort in our society over the fact that we, as human
beings, are embodied as well as minds and spirits. It's an old issue that takes different forms in
different generations. The recent Olympics resulted in a revival of public commentary that was
worried about bodies being too visible, especially if they were female.
Perceiving the Body
Perhaps part of this discomfort comes from the much-commented-on "pornification" of the
body, enhanced these days by the internet providing ready availability of intentionally
pornographic material, so that the human body comes more and more to be seen only in sexual
terms - the old ideas of the body as not only sexual but also capable of being an aesthetic
exemplar, or as athletic and powerful and fast, as dramatic, as expressing energy or ecstasy or
pathos - any of these as a dominant meaning in particular representations - all these are pushed
aside, as the body becomes only and merely sexual in a direct and simplistic way. That's
obviously a problem for presenting athletic bodies, even though our modern athletes are far
from the nakedness of ancient Greece.
This reduction of the body to a sex object is a move away from the complex and varied responses
to the human form that have been part of our cultural heritage for 2500 years or more, since
Classical Greece made the human body the central image of art, which also survived the
dominance of Christianity in the West - because religious art frequently accepted the body,
particularly in those paintings and representations of the Crucifixion of Christ and taking His
body off the cross - images expressing in their pathos the doctrine of the Incarnation - of God
taking on flesh. And thereby flesh becoming sanctified. It's worth noticing that Michelangelo's
Sistine Chapel ceiling, including nudes, has survived 500 years in a church setting.
19

For those who want to understand more of the variety of ways of seeing the body in the history
of art, I would recommend Kenneth Clark's book The Nude, published as long ago as the 1950s.
Clark lacks the prudery and prissiness that is on show with some more recent art historians and
curators, with their worries about "the gaze" (if male - apparently the female gaze is innocent).
Looking - the gaze - was strongly demonised by Jean-Paul Sartre, and Michel Foucault was
obsessed for many years with power relations, including those of looking, an attitude translated
simplistically into some forms of feminism, especially in America. Worries about "the gaze"
carry over particularly into the use of photography because of its directness of representation,
unmediated by the painter's brush or the sculptor's chisel. These are issues I'll comment on in
a later article.
Meanwhile, athletic bodies can be enjoyed for their athleticism. We don't need to hide by
showing faces, or ants in the distance. And those who wish to enlarge their ways of seeing can
read Kenneth Clark's book, and perhaps move on to a study of the works of Michelangelo - a
useful corrective to some current, debased ways of viewing the body. Michelangelo was a
profoundly religious man who saw in the human body the work of God, and therefore something
to be celebrated. For him, unlike some of the religious, God was not a pornographer in creating
the human body as it is. Flesh, although transient and in a “fallen world”, was not evil but part
of the goodness and beauty of the Creation. In a secular society we can still learn from that
understanding.
A sports shot taken at the 2012 Australian Olympic Trials. This full length view allows
the audience to see what is happening.
20

THE AUSTRALIAN PHOTOGRAPHIC Society (APS) celebrated its fiftieth birthday recently and
held its annual convention, APSCON in Canberra recently because that is where the
society was incorporated in 1962. Many CPS members were active in the preparation for
and organisation of APSCON, and participated in presentations, event photography and
exhibitions. The APSCON organising committee of Brian Rope, Robin Swadling-Rope, Graeme
Watson, Carole Watson, Jim Mason, Loralee Mason, Malcolm Smith, Rebecca Smith, Dave
Bassett and Ian Marshall worked hard for several years to put all the organisation in place and
during the event worked tirelessly to ensure all went smoothly. CPS members assisted with
event photography and setting up and taking down exhibitions. Phil McFadden give an invited
presentation “High Dynamic Range Photography without HDR” that was well received and
conducted a workshop on how to take panoramas.
Several photography competitions are regularly held in conjunction with the APS conference,
APSCON. One of these was the Annual Interstate Photography Competition (AIPC), hosted
this year by the Canberra Photographic Society. The judging of entries into this competition
was held as a CPS Activity Night on 17 July. The judges were David Chalker - Director and
exhibition curator of PhotoAccess, Chris Holly BSc(Hons) - professional photographer and
writer and Marc Fenning - Past National President of AIPP. ACT entries for the AIPC were
selected from submissions by the CPS and the Southside Camera Club. A complete list of
selected entries was published in the previous edition of Capital Image.
The State Entries were displayed and the results announced during APSCON. The Alan Moran
trophy for the winning state was awarded to Victoria. In previous recent years the ACT has
performed poorly in this competition, but this year the ACT placed second overall and won the
Digital Colour and the Monochrome Prints sections. Congratulations to Margaret Leggoe, who
won the Herbert Medal in the Digital Colour section with “Kestrels Mating”. Congratulations
also go to ACT photographers Tony Brown and Brian Jones who were awarded Merits for
“Bayshaw’s Hut” and “Tony” respectively in the Monochrome Print section, Steven Shaw who
won a Merit for “Air Dancer” in the Digital Monochrome Section and Helen McFadden and
Murray Foote who were awarded Merits for “Salt Cone, Uyuni Salt Flats” and “Steller’s Eagle
and Fish” respectively in the Colour Digital section.
Australian Interstate Photography Competition Results
Prints Digital
Mono Colour Mono Colour Total Place
VIC 102 113 99 107 421 1st
ACT 107 100 100 110 417 2nd
NSW 98 103 105 103 409 3rd
TAS 99 106 94 97 396 4th
QLD 91 105 94 98 388 5th
21

This National competition was held in conjunction with APSCON and accepted entries were
framed and exhibited at the APSCON venue. Several CPS members gained acceptances into
this exhibition. Murray Foote was awarded first place in the People category, for “Michael
Hardy”. He was also awarded a merit in this category for “Brian Cadd” and a merit in the Nature
section for “Otowa Bridge at Dawn” . Helen McFadden was awarded a merit for “Gobi Singing
Sands” in the Open Monochrome division.
The APS National Digital Competition was also held in conjunction with APSCON, with
accepted entries being screened during the conference. Helen McFadden was awarded third
place in the Open section for “Dragon’s Backbone Morning Mist” and Graeme Watson was
awarded a merit in the Open section for “Rough Ride”.
APS President and CPS member Brian Rope handed over the APS Presidency during APSCON
and performed his final duties as president at the APS Annual Awards Dinner - a gala affair held
at the Australian National Gallery.
At this dinner Graeme Watson was presented with an EFIAP (Excellence Federation
Internationale del'Art Photographique) award, a PPSA (Proficiency Photographic Society of
America) award and an ESAPS (Exceptional Service to the Australian Photographic Society)
award. Jim Mason was also presented with an ESAPS award in recognition of his ongoing
service to photography at state and national level.
The EFIAP and PPSA awards are for photographic skill and are based on acceptances in
international competitions. The ESAPS award recognises “exceptional service to photography
in or through APS at least at a National level for a period of not less than eight years”.
One afternoon of APSCON was held at the Strathnairn Art Centre in Holt, where delegates
enjoyed superb weather and were entertained with local singers and photographic models in
period costume. They were able to visit the CPS exhibition “This Place” coordinated by Ian
Marshall. This exhibition was a collaborative effort arising from the highly successful worshops
initiated and run by Ian. Chris Holly, who had previously opened the exhibition, was on hand
to provide an introduction and comments to APSCON attendees. Phil McFadden conducted
a fully subscribed workshop on “How to set up to shoot a Panorama” where participants learned
much about how to select, level and set up a tripod to optimise panorama shots.
Twentyone artists from the APS Contemporary Division presented their most recent work in
an annual exhibition. This year the theme of the exhibition was 'Close to Home'. Several CPS
members including Anrdrée Lawrey, Judy Parker, Ian Marshall and Brian Rope were busy with
coordinating and participating in this exhibition. The exhibition was ambitiously staged at two
venues - firstly at The Q (Queanbeyan Performing Arts Centre) and then again at the APS venue.
In 2013 APSCON will be held in Bunbury, Western Australia in September. The organisers have
created an exciting program with Christian Fletcher, Nick Rains and Peter Eastway as speakers.
22

Top: Kestrels Mating by Margaret Leggoe, Herbert Medallion, Winner, APIC Digital Colour. Centre: Dragon’s Backbone Morning
Mist by Helen McFadden, 3rd, APS National Digital (Open). Bottom Left: Salt Cone Uyuni by Helen McFadden, Merit AIPC Digital
Colour. Bottom Right: Steller’s Eagle with Fish by Murray Foote, Merit AIPC Digital Colour.
23

Top: Otawa Bridge at Dawn by Murray Foote, Merit, APS National Print (Nature). Centre: Gobi Singing Sands by Helen
McFadden, Merit, APS National Print (Open Monochrome). Bottom: Brayshaw’s Hut by Tony Brown, Merit, AIPC Monochrome
Print.
24

Top: Rough Ride by Graeme Watson, Merit, APS National Print (Open). Centre Left: Michael Hardy by Murray Foote, Winner,
APS National Print (People). Centre Right: Brian Cadd by Murray Foote, Merit, APS National Print (People). Bottom: Tony by
Brian Jones, Merit, AIPC Monochrome Print.
25

This year the workshop series culminated in the show “This Place” at
Strathnairn Gallery, Holt.
Selected images from each participant have been used to create a desk
calendar, available for $17.10 (at no profit to the CPS) from the
Momento Shop at
http://www.momentoshop.com.au/sp/id/7421
These calendars make excellent Christmas gifts.
A commemorative book containing all the images from the show has
also been compiled and is available for $113.00 from the Momento Shop
at
http://www.momentoshop.com.au/sp/id/7661
If anyone would like Christmas cards made from any of the Strathnairn images (or any other CPS image)
please let me know (communications@cpsaus.org) and I will create them and upload them to the CPS
Momento Shop.
26

FORMER CPS MEMBER, Basia Meder, now based in Sawtell near Coffs
Harbour, returned to Canberra briefly last month to talk about her new
photography book. At the September Competition night she credited
her time in the CPS for developing and nurturing her passion for photography.
Her book details her amazing African travel adventure stories and is
beautifully illustrated with 500 photographs.
In March 2002 Basia Meder began her adventure of a lifetime, a solo
backpacking journey in Africa with her cameras as her companions. Starting
in the Republic of South Africa in the south of the continent she worked her
way north through 16 countries to Egypt. In Madagascar she found herself in
the middle of a revolt. In Lesotho she was engulfed in snow and in Malawi
she was struck with malaria. Next she encountered mountain gorillas in
Rwanda, celebrated Christmas in Ethiopia and then she was overcome by the
beauty of the Sahara Desert. From Cairo, she set off to Western Africa, first
to Ghana, then Togo, Burkina Faso and Mali, where her journey was
dramatically cut short. It was not until May 2010 that she picked up her
backpack again and travelled to Morocco to finish her African odyssey. She
travelled mostly on land, using local modes of transport: bus, car, mini-bus,
truck, train, boat, horse, camel and she covered hundreds of kilometres on
foot.
Women from Morocco, Lesotho and Togo photographed by Basia Meder for her new book
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Basia Meder is a Polish-born Australian living in Sawtell, northern NSW. She is an
independent travel adventurer, photographer and writer. Qualified in mechanical
engineering and information technology, Basia worked for more then 16 years in Poland
before migrating to Australia in 1981.
In Australia she worked in her profession for another 16 years in Canberra. In 1996 she joined
the Canberra Photographic Society and was a member till she retired in 2001. She served on
the CPS Committee for a few years and was involved in the organisation of the CPS Annual
Exhibitions and many photographic excursions. Basia feels that she personally gained a lot
from belonging to the Canberra Photographic Society, continuously sharing with others her
lifelong passion for photography. She also felt that she learnt a lot from the constructive
feedback received by entering monthly competitions.
Basia’s passion for travel and photography has taken her to over eighty countries in all
continents. For her, photography is a spontaneous and important way of communication -
a universal visual language. She is a great observer of people, especially women from
developing countries, capturing their simplicity, joyfulness, female pride and humble dignity
as well as depicting their cultural and ethnic ties.
Basia Meder, together with Alan Chapple, wrote The Canberra Photographic Society
Achievers Book, 1989 - 2000, published in November 2001 by Tidbinbilla Press.
In 2001 Basia was recognised for her achievements and dedication to the art of photography
with an award for Visual Art, given by the Canberra Critics Circle.
In April 2011 her book “Granny Backpacker in Africa” (published first in Polish in Poland) won
the National Geographic Prize (Polish Edition) – Travel Book of the Year 2010.
All Canberra Photographic Society members, their friends and families are invited:on
6 December 2012, 6 p.m., Tuggeranong Arts Centre, Reed Street, Tuggeranong, ACT,
when Basia Meder will visit Canberra again for the public launch of “Granny Backpacker in
Africa” (English edition) and two volumes of the Polish edition - “Babcia w Afryce” and “Babcia
w pustyni i w puszczy”. Additionally, a photographic exhibition entitled “Faces of Africa”,
showcasing the amazing images Basia Meder caught along the way, will be held for one day
only at the Tuggeranong Arts Centre.
The book “Granny Backpacker in Africa” published by Tidbinbilla Press will be available at
the Tuggeranong Arts Centre at the special half price in Canberra - $35.00 (full price $70.00).
Basia Meder can be contacted for copies:
email - basia@meder.net
mobile phone - 0421 354 187.
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From the Mansurovs:
Best Nikon Lenses for Landscape Photography
Best Nikon Lenses for Wildlife Photography
Chrome Color Management is Finally Working
Why DX has no future
The Importance of Having a “Good” Lens
How to Effectively sell your Photo Gear on EBay
Introduction to Infrared Photography
Lens Stabilisation vs In-camera Stabilisation
What is Focus Shift?
From Ming Thien:
100 ways to improve your photography
Photokina has just finished with a flurry of interesting announcements:
Nikon D600, a full-frame 24MP camera at $US2,100
o DxO rates the sensor third of all cameras (after D800 and
D800E)
o D600, D700 or D800? (Thom Hogan)
Canon 6D, a full-frame 20MP camera at $US2,100
Sony RX1, a full-frame mirrorless camera with a fixed 35mm lens at
$US2,800
Fujifilm X-E1, a cheaper smaller version of the Pro-1 with no optical
finder but a high resolution EVF and improved autofocus and
manual focus
o Firmware upgrades also improve focusing for the Pro-1
o Two new lenses
o New Zeiss lenses for Fuji Pro-1 and Sony NEX7
Leica M (equivalent to M10) with a CMOS sensor that allows video
and live view
o Also M-E, a cheaper version of the M9
§ Perhaps they’re building up to an M‐E‐2
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Hasselblad Lunar, a ludicrous offering (Lunar-C?), a Sony NEX7 with
a souped up exterior at six times the price
o Hasselblad must be in trouble, eg from the Nikon D800
XRite ColorMunki Smile, a low-priced monitor calibration option
($US100)
Photoshop Elements 11
Announced earlier but review now available:
Other:
Sigma has a pair of fixed-lens mirrorless cameras that appear to
have remarkable image quality though significant drawbacks
including appalling RAW processing software and no chance of
support from major players such as Lightroom.
Former Olympus Chairman and Executives plead guilty to Fraud.
30

Propellors by Brian Jones. Honorable Mention, 2012 The
Worldwide Photography Gala Awards iphoneography
competition.
Shaping a Nation: A Geology of Australia. Cover Image by Jim
Mason.
CONGRATULATIONS TO BRIAN Jones who received
an honourable mention in the Worldwide
Photography Gala Awards recent competition
for iphoneography and to Phil McFadden who
recently won the Emotive Portrait section of the
Better Photography Magazine Photograph of the
Year competition.
Congratulations also to Jim Mason, whose stunning
image of the red centre was chosen for the cover of
“Shaping a Nation: A Geology of Australia”. This book
tells the story of how the geology of Australia has
shaped Australia as it is today. It showcases the
excellence and diverse disciplines of Australia’s
geoscience and in doing so answers many questions
relevant to Australian life. Jim has several other of
his photographs in the book. This book is already
being used as a reference by academics and
politicians. It is available for only $70 (very reasonable
for such a weighty tome) from Geoscience Australia.
Eagle Hunter by Phil McFadden. Winner, Emotive Portrait
Section, Better Photography Magazine Photograph of the Year
2012.
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Canberra Photographic Society
Committee 2012
President Brian Jones
Vice-President and
New Members
Jim Mason
Vice-President Steven Shaw
Secretary and
Competition
Director
Treasurer and
Membership
Public Officer and
Workshop
Coordinator
Capital Image
Editor
Activities
Coordinator
Excursions
Coordinator
Exhibitions
Coordinator
Committee
Member
Communications
Director and
Website
Coordinator
Trish Grice
Tony Brown
Ian Marshall
Helen McFadden
Nicky Brown
Judy Parker
Phil McFadden
Bill Laurie
Committee Meetings are held at 6.45 pm
in the Civic Library. Meetings are held on
the fourth Tuesday of each month.
Meeting dates for the rest of 2012:
27 November
Note that there will be no committee
meeting in October.
CPS committee email addresses are listed
on page 1.
The Society Constitution can be found on
the website.
The Membership Form can also be found
on the website .
Memberships are now due. The preferred
method for payment is online using the
CPS website
http://www.cpsaus.org/web/members/me
mbership.php
Annual Membership
Individual $120
Family $180
Concession $60
Pro-rata fees are available for new
members who join during the year -
please ask for rates. Existing members
paying late are required to pay the full
rate.
32

October Tuesday 2
Tuesday 9
Wednesday 10
Tuesday 16
November Tuesday 6
Tuesday 13
Tuesday 20
December Tuesday 4
Competition Night: Set Topic: Pattern and Texture.
Judge: Charlene Smith
Griffin Centre: 7.30 pm
Coordinator: Trish Grice
Chopsticks 'n Pixels Coordinator: Trish Grice
Workshop: Ongoing discussions and critiques of
participants’ images.
Griffin Centre: 7.30 pm
Coordinator: Ian Marshall ian.marshall.au@gmail.com
Excursion: Theatre photography: "War of the Worlds" by
Supa Productions. Now Wednesday Oct 10 only. Limit of 10
people. To register, please email secretary@cpsaus.org
Activity Night: Do I really need a DSLR? - Compare your
point-and-shoot camera with DSLRs under ambient light
conditions. Bring your camera and see how it compares
with the rest of the field. Hosted by Steven Shaw, Jim
Mason and Bill Laurie.
Griffin Centre: 7.30 pm
Coordinator: Nicky Brown
Competition Night: Open with Member Voting
Judge: Hilary Wardhaugh
www.hwp.com.au
Griffin Centre: 7.30pm
Coordinator: Trish Grice
Chopsticks 'n Pixels Coordinator: Trish Grice
Workshop: Ongoing discussions and critiques.
Griffin Centre: 7.30 pm
Coordinator: Ian Marshall ian.marshall.au@gmail.com
Activity Night: Photoshop Tutorial - Selections by Phil
McFadden.
Griffin Centre: 7.30 pm
Coordinator: Nicky Brown
Competition Night: Image of the Year
Judge: Ben Kopilow
Griffin Centre: 7.30pm
Coordinator: Trish Grice
Chopsticks 'n Pixels Coordinator: Trish Grice
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See below links for details.
http://www.gmphotographics.com.au/photography-workshops/
http://www.trybooking.com/Booking/BookingEventSummary.aspx?eid=34051&embed=34051
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