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WELCOME!So, here we are… 2015, and what an entrance we have made! The LIGHT Side has gone from strength to strength already this year; lots of new members coming out of the dark and as a result, a fantastic stream of contributions and information is being shared.

We have also had our first TLS meet at the SWPP convention and it gave the members who attended a great opportunity to put faces to pixels and also meet Rick Friedman who generously found a gap in his commitments to come and say “hi”.

With the start of the New Year comes a barrage of plans for both TLS and The Digest. TLS will be expanding faster than ever and as a result bringing with it new opportunities that will benefit the group and its members in ways that have got the admin team a little excited, to say the least.

As I write this editorial, Edition 01 of the Digest has been read by 1,879 people from all over the world (apart from Korea and Russia… but we will let that slide). That is far beyond what we first envisaged… and hopefully with Edition 02 hitting your screens packed full of even MORE content, we can exceed that number and keep improving with your ongoing and incredibly welcomed support.

Grab a coffee, put your feet up… We bring you Edition 02.

Enjoy.

Pete Williams

Ian Pack

Ian trained in TV and started his photography business in the early 1990s. He’s worked with local, national and international businesses, has a widely read blog and in 2013 founded the Facebook group. Ian has been published in Amateur Photographer, PhotoPlus, What Digital Camera? and Digital Camera magazines.

www.thelightsidegroup.co.uk

Chris Cook (aka Isca Home)

Professional photographer since 1972 – Studied lighting under Walter Nurnberg. Professionally qualified & taught in 26 countries. Scientific Wedding & Artistic winner of multiple awards inc Fuji Wedding photographer of the year since 1980’s.

cookphoto.webs.com

Peter Williams

Peter is a serving soldier and working photographer. Working mainly in a photojournalistic role his work has taken him all over the world and into a multitude of challenging, kinetic and fast flowing environments. Father of two, whisky lover, passionate photographer; a combination he adores.

PeteWilliamsPhotography

Peter Barnett

Mechanical design engineer by day, photographer at heart with an interest in landscapes, portraiture and starry skyscapes. You will find me up at the crack of dawn photographing the unspoilt wilderness, or chucking water at inanimate objects to capture the movement of the splashes and droplets.

peter-barnett-photography

Simon Newbury

Portrait Artist, House-Husband, Builder of Homes and all round Jack-of-all-trades. Husband to an amazing wife and father to two beautiful, delightful pains in the arse.A dab hand at Photoshop and not too shabby behind a camera either. Working here in design and layout.

www.simonsart.co.uk

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Contents 5. A Camera, Bikes and Speedlights. What more could you want?

12. Colour by Design

19. About High Speed Sync

25. Light Up The Night by Rick Friedman

30. Day for Night Shooting

35. MORE from TLS

38. Shows and Events Diary

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Camera, Bikes& Speedlights!

By Peter Barnett, Photos by Colin Brister

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The power of speedlights is sometimes underestimated. We will go through a variety images from Colin Brister,

showing the different effects you can achieve with speedlights to capture the moment outside a studio environment.Let us start with this Image on the left. As you can see from the background, the sun is covered by clouds which would make a normal photograph quite dull and colourless. To avoid this one would have to slow down the shutter, open up the aperture or increase the ISO. Slowing the shutter can help to achieve creative blur of a moving subject but what if you wish to have a sharp image? The next solution would be to open the aperture again: this could help to achieve a creative look by reducing the depth of field (blurring out the background) but what if you wanted to show the scenery? Again, this would not help. The last option would be to increase the ISO, however, increasing the ISO would give a more grainy picture, so what is there else to do? This is where speedlights come into play. This image

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was lit using two speedlights triggered with a Pocket Wizard receiver and transmitter in Flex TT mode with ISO-100, 1/160sec, F22 and a focal length of 14mm. On both of the speedlights there was 60cm pop up softboxes to soften the harsh light. Flex TT mode is a feature in the pocket wizard system allowing the photographer to adjust the speedlight settings wirelessly (rather than going across to each speedlight and adjusting them). This is just as you would do if the flash was on the hot shoe of your camera, i.e. you are able to change settings for the speedlight output.

In this next image it is getting darker as the sun starts to set. This reduces the ambient light. In this shot, Colin has creatively chosen a low shutter speed 1/40Sec to allow more light in this darkened environment. This shutter speed has allowed Colin to create a motion blur effect to the background: if the speedlight was not in use, the rider would have been blurred too. The flash from the speedlight has allowed the photographer to freeze the biker and capture this very creative action shot. Settings for this shoot are: ISO-500, 1/40Sec, F/4 and a focal length of 24mm.

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For this black and white image, Colin has used 4 speedlights on one side and 1 speedlight to lighten up the dust, as you can see from the sketch in Image (F). All flashes are without any modifiers (Bare Flash). Settings for this shot were ISO-400, 1/400sec, F/22 and 140mm focal length.

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For this stunning image above you can see from the lighting sketch below that the shot was created with two speedlights to the left of the camera (with no light modifiers) roughly 1.5 meters from the subject. Settings used for this shot: ISO-400, 1/2500sec, f3.2 at a very wide focal length of just 10mm.

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Here Colin has used three speedlights with no modifiers to create one directional light from the left, as can be seen in the image itself. Settings were: ISO-400, 1/160sec, F22 at 10mm focal length.

This final image was created using three speedlights without modifiers, at a distance of 4 metres from the subject creating a one directional light as per the previous Image but with a slight difference. In this image, the shutter speed was doubled to capture the subject without any motion blur.

However, increasing the shutter speed means less time for the sensor to capture the light hence the f stop had to reduce dramatically to allow more light in. Settings were: ISO 400, Shutter speed 1/320sec and a F/3.2.

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Colour by DesignBy Jay Terry

A successful image has many elements to it: lighting, composition, a center of interest, impact and story. Each has a role to play in how an image is viewed and interpreted by the viewer. An image maker can, through their use of line, contrast and depth, influence how the viewer’s eye travels through an image and what parts of the image hold more “weight” than other. Each element can play off of another, enhancing their mutual effects, but one intersects and connects them all: colour.

As one of the most important elements, colour can affect the viewer on an emotional and psychological level. The right balance of colour can add either harmony or tension, depending on the intentions of the maker, using monochromatic, complementary, split complementary, analogous, triadic or tetradic colour schemes.

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[1] Monochromatic colour schemes are just what they sound like: images featuring a single, dominant colour. Images that make use of a monochromatic palette have a considerable amount of impact for their visual presence. A single colour in an otherwise colourless scene or one

colour that consistently dominates an entire picture grabs the attention of the viewer. It can also trigger an immediate emotional response based on hue or chromaticity (for simplicity’s sake, the primary and secondary colours), tint (a lighter hue), shade (a darker hue) and, of course, cultural significance.

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[2] Analogous colour schemes are ones in which any three colours are next to each other on a colour wheel, such as blue with blue-green and green.

While it seems like this would be a simple palette to create, certain three-colour analogous combinations can be disharmonious and distracting (especially when combining warm and cool tones). A good way to use analogous colour schemes is by having one of the three colours act as a ‘primary’ and the other two as ‘accents’.

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[3] Complementary colour schemes are ones that employ colours that sit opposite to each other on the colour wheel. While opposing colours create a high contrast, they also create a balance or perceptual stability. A basic two-colour complement will always contain one warm colour (red, orange, yellow) and one cool colour (blue, green, purple). A classic example of this scheme would be warm highlights with cool shadows, or warm skin tones with a cool background.

Beyond simply grabbing the viewer’s attention, you can ‘set the mood’ by making use of standard colour psychology. By selecting specific colours or colour combinations, you can predetermine viewer reactions with a reasonable amount of consistency (keeping in mind that most people react to certain colours in a predictable manner, but it’s not a guarantee by any means).

Some basic guidelines are as follows:Red: the colour of energy, often associated with movement and excitement. As a tint, pink, it is often perceived as soothing and gentle.Yellow: often perceived as cheerful, it is the colour of laughter and creativity. Intense yellow can cause aggression but golden yellow is associated with optimism.Orange: another energetic colour, it is most often associated with fun and warmth.Blue: calming and restful, the most popular colour. As a shade, dark blue is perceived as cold and uncaring.Green: associated with peace and harmony. Dark green is often perceived as masculine and conservative while it’s tint, light green, is pleasingly calming.Purple: associated with wealth and prosperity, purple can be perceived as mysterious.

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[4] A triadic colour scheme is one in which three colours are equally spaced on the colour wheel, similar to the split complementary scheme which also makes use of three colours but it uses one colour and the two directly on either side of its complement.

The easiest way to differentiate between the two schemes is to imagine a triangle on the colour wheel: an equilateral triangle for a triadic scheme, an isosceles triangle for a split complementary scheme.

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[5] Tetradic colour schemes are ones that make use of four colours together as two sets of complementary colours rotated 60 degrees from each other (picture a rectangle on the colour wheel). Obviously the most difficult scheme with which to create a colour harmony, it can also be the most vibrant and jarring. A good example would be red and green paired with blue and orange. Using pastels (tints) can make this colour scheme less obtrusive to the eye.

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There are several great resources for determining which colours work well together, including COLOURlovers, Coolers, ColourSnap and Paletton. On sites such as Coolers (www.coolers.com) or Paletton (www.paletton.com), you can use the random colour palette generator or “lock in” your own colours

and then save the swatch. With Paletton, you can narrow your focus to specifically choose monochromatic, analogous (with or without a complement), triadic and tetradic schemes, as well as the option to completely ‘freestyle’ your colour palette.While it’s easy to get caught up in balancing exposures, carefully composing scene and subject, and artfully determining the ideal depth of field for your images – all of which are admittedly important – don’t forget to be just as mindful of how you use colour.

Even when there’s no camera in at hand, pay attention to the colours all around you. The more you get used to looking for colour harmonies, what works, what doesn’t and understanding why, the more insightfully you’ll be able to use different colour palettes to maximum effect and add another dimension of design to your photography.

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Before we get to the high speed let us have a look at flash triggering.

All cameras have a maximum synchronisation speed, typically between 1/125 and 1/250 of a second, so what does this mean? When the shutter is pressed the first curtain travels across the sensor.

Once the sensor is uncovered the flash is set off and exposes the image. The second curtain closes and the shutters are reset. The camera knows how much time to allow between triggering the first curtain and when the whole sensor can be exposed to light, often called pre-flash.

Getting in syncwith HSS By Michael Weeks

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If a shutter speed higher than the sync speed is chosen part of the image will not be exposed, in this case the 2nd shutter was moving to stop exposure when the flash illuminated.

Leaf shuttersMany medium format cameras had leaf shutters which allowed flash sync at any speed. The wedding photographers of old took advantage of this to use fill in flash even in bright sunlight, after all the Hassleblad 500C had a top shutter speed of 1/500s against SLRs of the time that had 1/60s or 1/90s sync.Modern requirementsModern photographers talk of terms like Bokeh and like large apertures so that the background is thrown out of focus. Using

the sunny 16 rule the shutter speed is the same as the ISO in sunny conditions and the aperture is f16 so if we want to use f2.8 then we need a shutter speed of 1/4000s (fill flash is normally 1½-2 stops lower) and fill at about f1.4-f1.8.

The solutionActually there are a number of solutions and as far back as 1992 Nikon produced a flashgun with what they called Auto-FP sync and Canon came along with High Speed Sync (HSS). In essence these are not single flashes of light but a stream of lower powered flashes (approx 20% of full power) at such a high rate (10s of thousands of pulses per second) that it looks like continuous light, well at least to the sensor it does.

In the Nikon system in such cameras as the D800, D700 etc. the sync speed can be set where FP flash cuts in, if 1/250 (Auto FP) is selected it means that FP flash will be used at shutter speeds of 1/320 and higher and if 1/320 (Auto FP) is selected then FP flash is used at 1/400 and higher.FP or HSS mode needs to be built in to

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the flash to be used and any triggering systems need to have the signalling system built in to activate it. Of course many flashes such as most studio flash do not support these high speed sync systems. One effect of High Speed Sync is that the effective power of the flash is reduced by about 2 stops (1/4 power)

PocketWizardAbout 2009 along came PocketWizard with the TT1/TT5 system and 2 different timing adjustments.

The first is Peak Sync where a small gain can mean that 1 or 2 shutter speeds higher than x- sync speed can be used i.e. instead of 1/250 maybe 1/500 would be achievable, it allows you to squeeze a bit more out of a standard flashgun. This is achieved by firing the flash just a bit earlier so that the peak has completed before the 2nd curtain moves.

The second method is using the long tail of the flash pulse which is what PocketWizard call Hypersync which

although not a new technique it was not commonly used. Those that knew of it would have called it Long Tail Sync. This relies on flash having a long (slow) pulse, not the sort you get from hot shoe flashguns (IGBT) but rather studio flashes or the larger portable flash systems. Some Insulated Gate Bipolar Transistor (IGBT) flashes can be used for Hypersync because the flash pulse is long enough, however this can normally only be done at full power as their method of power control is to switch off in the middle of the pulse and not release the full power. Capacitor based lights such as studio lights are very different and their output is controlled by how high they are allowed to charge to and a strange effect is that if they are charged to a lower power it actually takes them longer to discharge. This means that most studio lights can be used at all power for Hypersyncs.

Because Hypersync is using the low power in the tail it will also be about 2 stops below what we would get if at

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X-sync. A second point to note is that the power level is higher at the start of exposure compared to the end which produces the characteristic Hypersync image which is brighter at the bottom of the frame compared to the top.

Hypersync TriggersRecently a number of triggers have appeared featuring their own version of hypersync, Odin call it over drive sync, Yongnuo call it supersync and Commlite/Ojecoco call it HS Flash Mode, Pixel King just says it syncs at all speeds and has no timing adjustment and Cactus does not support this.

Many of these can also be used to activate the pulsed High Speed Sync found in many hot shoe flashguns.One of the important things to be noted is that there are no industry standard terms for different methods and often many names for the same method so people should be forgiven for getting confused, including suppliers. Add to this the Chinglish instruction books and

confusion is to be expected. It would be great if people could use High Speed Sync (HSS) for the pulsed light and Hypersync for long tail as these are the most commonly used terms for the 2 methods.

High Speed FlashSome of the newer flash systems entering the market are quoting flash speeds as short as 1/20,000 – this should not be confused with high speed sync.When using flash the image is actually subject to 2 exposures, that exposed by ambient light and that exposed by flash. As an example for fill flash the majority of the exposure is from ambient and just a bit of flash. The expression dragging the shutter is used where slower shutter speeds are used to allow in more ambient to balance areas illuminated by flash.Hypersync and HSS are not designed to be used to freeze action but rather to light for the duration of the exposure and therefore will still capture movement; obviously as the shutter speed gets faster more motion will be frozen.If we consider a totally dark room i.e. no

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ambient then only light from the flash will illuminate the subject. It is in these circumstances where high speed flash can be used to freeze motion due to the very short pulse of light, regardless of shutter duration which will be at X-sync or slower.

Why we need these solutions.

This shot at Sunset in August by Brian Muir is a perfect example of why we need Hypersync or HSS. If Brian had shot at the cameras meter reading the sky would

have been washed out and to get these saturated colours you need to under expose by 1.5 or 2 stops which could have been done in a number of ways. Closing the aperture was not an option as he wanted the limited depth of field of f2.8 so another choice is to use a shorter exposure i.e. instead of 1/400 he selected 1/1600. By using a Yongnuo 622N trigger system along with a Lencarta Safari Li-ION he could make use of the long tail to then light the model. And record the ambient as he wished.

Image by Brian Muir of Air Image PhotographyModel Deanna HughesStylist Susan Hector

Glossary for this and other articles, please see https://www.facebook.com/notes/the-light-side/lighting-language-jargon-notes/243118989145973

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flashfreeportait.com

guerrillaglamour.com

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Lighting Up The Night! by Rick Friedman

Last night I had a chance to work with the brand new Dynalite Baja strobe, the newest addition to the Dynalite line. The Baja is a self contained battery operated 400 watt second monolight with an internal battery. I really like the quality of the light coming from the Baja. The recycling time was almost immediate, and the built in modeling light was great. It’s not heavy and easy to work with.

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With the Baja strobe and Chimera Beautydish combination as my main light, I photographed a model, Eddy Twal, in the front and back of my studio in South End’s Boston. I used a Sekonic L-478DR to read my light. All strobes were triggered by PocketWizard Plus III. My camera was set on manual and the color balance was set on daylight. When working on location I use a Hoodman Loupe to view the images on LCD screen.

Different strobes give you different looks. The image on the previous page is a mixture of strobe and ambient light,

with a hand held long exposure. This is a single light photograph, using the Dynalite Baja strobe, Chimera medium beauty dish with an egg crate diffuser, held by my assistant with a 1420 VAL Spigot on painter’s pole for the light stand.

The VAL Spigot is produced by my friend Ian Pack in the UK. This is a great adapter to add to your lighting kit. My camera was set at an ISO 200, 1/4 second and F4. The feeling of movement is created by shifting my camera from left top to down.

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In this photograph I used the Dynalite Baja strobe with Chimera medium beauty dish with an egg crate diffuser and Sunbounce 4’x6’ zebra reflector. This is also a single light photograph. My camera was at ISO 250, 1/6 second and

F4.5. My shutter speed was determined by the ambient light, I wanted to have the yellow door lamp bright, but not overexposed. I choose F4.5 for depth of field.

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This photograph is taken behind my studio. My main light was a Dynalite Baja Strobe with a Chimera medium beauty dish with an egg crate diffuser. The backlight was a Dynalite Uni portable strobe with a Rosco CTO gel, to warm the color, Rosco Toughspun to soften the light and Rosco Cinefoil to craft the light. In the set up photograph, my assistant was holding black foam core against

Chimera beautydish to shape the light, and produce the drop off of light in the lower right corner. My camera was set at ISO 200, 1/2.5 second and F 4.5.

Due to my training as a long time photojournalist, I try to do it all in camera. Less time spent in front of the computer is better for my soul....!

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Day for Nightwith LEE Filters Lighting Gels

NightBy Ian Pack

During October 2014 I had the pleasure to work with a great bunch of photographers at the Event & Schools Photographers Group in Coventry, England. This was an opportunity to show other photographers that there’s much more to lighting than just umbrellas & soft boxes, plus I got to meet some really

good people into the bargain.

This image was created with the aid of 2 x iLux Summit 600 portable battery mono bloc self-contained flash heads from Photomart, a crew of four and a few sheets of LEE Filters lighting correction gels.

Camera Settings:ISO 160Shutter 1/250thAperture ƒ/3.5White balance tungstenCanon 50D with 85mm ƒ/1.8 prime

Model: Emily Jane Brooks

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As you can see, until lit, the scene is relatively ordinary and flat due to the heavy overcast sky and surrounding buildings. The purpose of this shoot was to evaluate the capabilities of my new iLux Summit 600 battery flash head,

including the ability to freeze moving objects and show other photographers that a few simple changes to lighting and camera settings can totally alter the look and mood of a scene.

The Lighting- 2 x iLux Summit 600 portable battery mono bloc self-contained flash heads- Key light Lux 120cm Deep Octa with internal diffuser in place and front diffuser removed- Back right at 2 o’clock iLux Summit 600 portable battery mono bloc with standard reflector in place. LEE Filters Double CTB (200) (Colour Temperature Blue) clipped inlace with multi-clips- LEE Filters ½ (205) & full CTO (204) (Colour Temperature Orange) which converts a daylight (5500k) source to tungsten (3200k). Normally I’d only use a single Full CTO for a shot such as this but the flash tube on the light is a little cool/blue for my taste.- Flash power was in the 1/16 or 1/32 range maximum for both lights.

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Camera SettingsISO 160, 1/250sec, ƒ/3.5White balance tungsten

Setting the camera white balance to tungsten neurtralises the effect of the warmed up light from the CTO’d flash. The under exposed background light not lit by the flash will render blue, the colour of the tungsten in camera white balance. The back/rim light was Double CTB in order to show through the blue ambient light. Full CTB would be neutral and have no effect.

The image was processed in Adobe Camera RAW via Bridge then into Photoshop CC where I dodged and burned in the image to give the desired look.

This is an adaptation of a technique used by cinematographers to simulate night time in daylight - shooting day for night. To create a more authentic nocturnal feel the model could be lit with less CTO

which would not be so flattering!

The LEE Filters used in this article were from the Pro-Pack which contains 24 of the the most useful 21” x 24” colour correction, effects & diffusion gels. The Double CTB was taken from the Master Location Pack of 10” x 12” gels.

That’s it for this one. My thanks to all involved in this shoot, you know who you are:)

The 1420 VAL Spigot is available from selected retailers in the UK and direct from me for US or UK customers.

iLux lighting is available from Photomart and LEE Filters lighting gels from numerous sources including The Flash Centre.

We are running another lighting workshop on 25th March 2015. Details may be found on the following page.

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EPS & TLS Lighting Day3 set-ups*, 3 models,

3 experienced photographers,loads of gear all for £50 one day.

*including Hollywood style & working with coloured lighting gels

Wednesday 25th March, Britannia Hotel, Coventry,

10:00 AM to 4:00 PMIf you are new to lighting or have been doing it for years you will come away with new ideas and knowledge that you can put in to practice and an understanding of the equipment used from flashguns/speedlites to studio strobe and much in between.

Book here now!Special price of £50 per person or £80 per couple applies to all bookings made before 1st March 2015. Thereafter, £60 per person & £100 per couple.

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MORE from The LIGHT Side

“The Fighter” by Peter Barnett.

Settings: Canon 60D, 25mm focal length, f/16, 1/200sec, ISO-100.

Model Name: Jason Gardiner

A few more images from the pages of The LIGHT Side Group

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Two 300W flash units on their lowest power setting in 50cm X 70cm softboxes were used to light Jason. Both softboxes have an inner diffuser. The metal plate you can see on the left of this image is an A3 aluminium sheet screwed onto a tripod (easy to use and swivel to bounce the light back onto the subject). The blue background was placed in Photoshop, original backdrop was a while wall.

“Portrait of Henry VIII” by Simon NewburyNikon D600, 50mm, f/22, 1/200sec, ISO 100Tony Harris plays the great man. Lit mainly by a 60cm gridded beauty dish to the left of camera with fill coming from 90 degrees right in the form of a 135cm Rotalux. This photo was published in the 1x curated gallery.

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Developed out of a conversation on being ‘busy’. It seems so many of us have saddled ourselves with filling every moment of our days with work, virtually drowning in it, that we forget to stop and enjoy some of life’s simple pleasures.

This image was shot in a small home studio. Without the benefit of an actual pool to use, the details had to be planned out in advance. The most important detail being the lighting, each of the 18 shots used in the composition had to be lit with the end result in mind. Due to the limited space, the lighting was handled with three Canon speed lights: two on 4x1’ strip boxes, one snooted with a 45° grid, plus a silver reflector panel.

Entered in the 2014 International Loupe Awards, it scored silver and placed 16th in the Illustrative category.

“Gotta Getta Cuppa” by Jay Terry

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Photo Events, Shows and ExhibitionsCompiled by Chris Cook & Ian Pack

Please contact the venue or exhibition organiser before making travel plans!

What Where From To

Sony World PhotographyAwards Exhibition -Somerset House, London

http://www.worldpho-to.org/festivals-ande-vents/events/2015-so-ny-world-photogra-phyawards-exhibition

6th Sept 2014

4th Jan 2015

Alexander McQueen: Savage Beauty -V&A London

http://www.vam.ac.uk/content/exhibitions/ex-hibition-alexander-mc-queen-savage-beauty/

March 14 2015

July 19 2015

Wildlife photographer of the yearNational History Museum

http://www.nhm.ac.uk/vis-it-us/wpy/visit/index.html

NOW 30th Aug 2015

Taylor Wessing Photographic Portrait Prize

http://www.npg.org.uk/pho-toprize1/site14/index.php

NOW 22 February 2015

Conflict, Time, PhotographyTate Modern

http://www.tate.org.uk/whats-on/tatemodern/exhibition/conflict-time-pho-tography

NOW 15 March 2015

Guy Bourdin: Image Maker

The UK’s largest ever exhibition of the influential and enigmatic fashion photographer Guy Bourdin, featuring over 100 works and previously unseen material from the photographer’s estate, from 1955 to 1987.

http://www.somersethouse.org.uk/visual-arts/guy-bour-din

NOW 15 March 2015

Modern Photographs from the Thomas Walther Collection, 1909–1949MOMA

http://www.moma.org/visit/calendar/exhibitions/1496

NOW 26 April 2015

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Masters of Light at the Media Space in The Science Museum. Treasures from the world’s oldest surviving photographic society are to go on display inSouth Kensington, the site of one of the UK’s first ever public exhibitions of photography.

Science Museumhttp://www.sciencemuse-um.org.uk/about_us/press_and_media/press_releas-es/2014/07/masters_of_light.aspx

NOW March 2015

Salt and Silver: Early Photography1840-1860, Tate Britain

http://www.tate.org.uk/whats-on/tate-britain/exhi-bition/salt-and-silver-ear-ly-photography-1840-1860

25 Feb 2015 June 7 2015

The Photography ShowNEC Birmingham

http://www.photogra-physhow.com/

21 March 2015

24 March 2015

Annie Leibovitz 2015 exhibition

Dimbola House Isle of Wight – 200th anniversary of Julia Margaret Cameron

2015

The National Media Museum, Bradford Plenty to interest many. Strongly recommend visiting the website for more information

http://www.nationalme-diamuseum.org.uk/PlanAVis-it/WhatsOn.aspx

Fox Talbot Museum at Lacock Abbey Discover more at the birthplace of photography

http://www.nationaltrust.org.uk/lacock/things-to-see-and-do/fox-talbot-museum/

Royal Photographic Society Exhibitions Various exhibitions to visit

http://www.rps.org/exhibi-tions-and-competitions/cur-rent-exhibitions

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That’s all for this time,We hope you enjoyed it and keep tuned in to The LIGHT Side for all you lighting questions!

In our NEXT issue:

MORE aspects of lighting explained including AVAILABLE LIGHT photography.

MORE from the TLS members.

MORE fantastic photography.

Issue 3 available in two months.