By © Stephen Malone

In this Issue:

l Bluedog Photo News

l Workshops

l Exhibitions

l Checking Out Web Sites

l Photo Tip

l For Sale and Wanted

l Photo Trivia/Dedication:

What's On: Workshops, Retreats and Outings:
For further details refer to Photography Workshops and Retreats
Don't forget to let us know if there is anything specific you would like covered in any workshop or during a retreat. Our workshop calendar will be on the web site and updated regularly as you make your requests and we are now trying to plan all workshops well in advance so you have plenty of time to prepare. Remember once you start with us, our advice does not stop when you leave the workshop you can e-mail us with questions and images for further continued advice.

The Bluedog Team of wonderfully talented professional photographers have a wealth of knowledge to share and have taught various aspects of photography throughout Australia. You may be a good photographer but that does not mean you can teach. We all continue to work as professional photographers and have the confidence and patience to take you on exciting paths with your work.

Registration and receipt of place is essential as numbers are limited. We want the workshops to continue to be very personalised so that you may gain the maximum from the workshops. Remember we do need you to book your place and after you book you receive a registration form. Once we receive this back with payment to secure your position then you are booked. View our terms and conditions.

An outline of each workshop and retreat itinerary is listed on Photography Workshops and Retreats

Photo Tip: Shooting in Black & White

Black and White (B&W) photography continues to be a medium that excites viewers. Photographers even in this modern day of digital technology are striving to create that dynamic black and white image.

Undoubtedly, B&W images make great portraits, landscapes and still life's but what is the best way to achieve a great B&W image with our digital cameras?

Many digital cameras have the ability to shoot in B&W and sepia modes. It sounds simple - just turn the dial and bingo there is your image in the tonal scale you required. No more messing around in the darkroom turning canisters precisely on time and inhaling smelly chemicals as your images come to life on the paper swishing in the developing bath (I must admit though this is still one of the most exciting photographic processes for me!).

DO NOT use your B&W or sepia mode on your camera! There is x3 times more information in a colour image than in a B&W. So by using the B&W and sepia modes you have lost three tonal separations. Do the image alterations in a photography computer editing programme such as Photoshop. Your final result will be an image with a much better tonal range and one that looks more like an image shot on B& W film.

Photo by Danielle Lancaster ©

For Sale and Wanted:

l Nikon F55 with Nikon 28-80 lens and snoot bag Tamron 80-210 lens (in box) all as new with books. Offers? Contact Harry: lily-whites@hotmail.com

l Photo Buddy: Anyone looking for a buddy to go out and take photos please contact Sue: suebbb@gmail.com

To list your item in this free directory,
please email us your details.

What's On: Exhibitions

l Hall of Mirrors: Anne Zahalka Portraits 1987-2007 'Explores the thread of portraiture through the prolific career of one of Australia’s pre-eminent photomedia artists.' Features many iconic images, will introduce audiences to previously unseen portraits. Curated by Karra Rees, Hall of Mirrors examines portraiture, representation and identity throughout Zahalka’s celebrated career, which spans more than 20 years. Zahalka’s portraits reveal more than just the individual – with an ironic and critical voice the images cleverly subvert stereotypes while capturing subcultures and a spirit of the times with acute observation. Featuring over 70 works, Hall of Mirrors brings together Zahalka’s renowned imagery, introduces previously unseen portraits from several series, and also showcases new works commissioned for this major touring exhibition. One not to be missed.
Venue: National Portrait Gallery (ACT) For other venues and dates
Date/s: 23 November 2007 – 31 March 2008
For other venues and dates: http://www.ccp.org.au/AnneZahalka.php?nav=f

l Focus: photography and war 1945-2006
This exhibtion currently touring Australia provides an overview of the historical and aesthetic richness of the Australian War Memorial’s extensive photography collection, through the images and experience of the 15 photographers working during the period 1945 – 2006.
Venue: Monash Gallery of Art Wheelers Hill, Melbourne VIC 16 November 2007 24 February 2008
Date: 16 November 2007 24 February 2008
For other venues and dates: http://www.awm.gov.au/events/travelling/focus.asp

l Power & Beauty
A collection of contemporary Aboriginal and Torres Strait Islander artwork including photography by Ricky Maynard, Ellen Jose and Nici Cumpston
Venue: Heide Museum of Modern Art, Vic
Date: till the 10th March 2008

l Michael Riley :: Sights Unseen
22 February – 27 April 2008 - Art Gallery of NSW.

Checking Out Web Sites:
One of our favourite landscape photographers is Ansel Adams
Check out his work here: http://www.anseladams.com

If you have come across a great web site
send it to us and it may just be featured!

Photo Trivia: Did You Know?

We made mention in our exhibition listings this newsletter on Focus: photography and war 1945-2006, a selection of images from the Australian War Memorial’s extensive photography collection currently touring Australia.

Did you know the Australian War Memorial’s collection of photographs holds more than 900,000 images!
This features thousands of photographers work and many of the images are searchable on the Memorial’s online web site: http://www.awm.gov.au/

Thomas Wingate’s (1807-69) photograph of the 1st Regiment of the NSW Rifle Volunteers standing in order (above) is among the earliest Australian photographs to document the military activities of colonial citizens. Taken at the Victoria Barracks in May 1861 it marks the public debut of the regiment’s new colours and flag. Probably the reason Wingate who had recently relinquished his command of the corps, took the image. It records an important moment for one of the colony’s first volunteer regiments.

Contact - Photographs from the Australian War Memorial collection is the first, authoritative survey of the Memorial's photographic collection and of the history of Australian war photography. This book features over 200 beautifully reproduced photographs, including many of the Memorial's best-known images as well as some previously hidden treasures. Available from the Australian War Memorial shop.

Dedication to the Masters of the Lens
Frank Hurley
(1885-1962)

He began his career with a Sydney postcard company at the age of 20 in 1905 moving to be an accomplished commercial photographer. Hurley was an adventurer.

He was appointed the official photographer for Douglas Mawson’s Australasian Antarctic Expedition (1911–13),and was a member of the famous Ernest Shackleton's Imperial Trans-Antarctic Expedition that set out in 1914 and was marooned until August 1916.

Not long after returning from this trip he was appointed Australia's second official First World War photographer joining the Australian Imperial Force (AIF) as an honorary captain in 1917.

His artistic style produced many memorable images such as his stunning battlefield scenes during the Battle of Passchendaele. In keeping with his adventurous spirit, he took considerable risks to photograph his subjects. Hurley spent over three months photographing the Western Front, where he produced some of the finest photographs of his long career.

However, he also used staged scenes, composites and photographic manipulation for which he has been criticised on the grounds that it diminished the documentary value of his work. In particular he and photographer Charles Bean clashed. Bean resented Hurley's manner and what he saw as the unreliable nature of Hurley’s work. Hurley regarded photography as a medium that could be manipulated to achieve a desired effect and if that meant making composite prints by combining two or more negatives to make an image and stagging scenes than that was had to be done.

The men continued to clash Bean particularly concerned with the issue of the historical reliability of Hurley's work. Hurley left the Western Front in November 1917 for the Middle East, where he photographed the activities of the Australian Mounted Division.

Hurley was also appointed an official war photographer during the Second World War, where he again photographed Australian troops in the Middle East.