Lucca Amorim – Wildlife and Nature Photographer
“Creating Photographical Solutions”
About Lucca:
Lucca Amorim is a Brazilian born Australian Wildlife/Nature photographer who developed a passion for wildlife and decided to pursue a career linked to wild animals at a young age. Given a chance, he was able to work with skilled conservationists in a marine rescue centre in Chile. Doing so allowed him to understand and learn about animal conservation. Now in Australia and specialising in wildlife photojournalism, he works documenting eco-sociological issues, animal behaviour, conservation stories, and scientific research. He’s also earned numerous awards in Australian including geographic photographer of the year, bird photographer of the year, and Australian photographer of the year.
Topic: Creating Photographical Solutions
The topic will consist of creating narratives through different angles and overcoming challenges in wildlife photography. (This will focus on camera traps and other techniques to capture images ethically with minimal interaction)
Website: Click Here
Venue: Bushell’s Lagoon, Freemans Reach & Pitt Town Reserve, Church Street, Pitt Town
Meet 10am at corner of Brewers Lane and Blacktown Road, Freemans Reach.
We`ll walk approximately 1 km along a track taking photos of bush and water birds.
A lens with a focal length of 300mm to 500mm or beyond, will be a help.
https://www.hawkesbury.org/name/bushells-lagoon.html
Drive to Windsor for lunch and then Pitt Town Reserve
We will have some lunch in Windsor then for those that want to continue with more water bird photography drive to Church St, Pitt Town Reserve. There are various options for lunch including the new Windsor RSL Club
Digital Entries close: 24/09/2023
Print Entries close: 25/09/2023
Open and Set Subject
Set Subject: Animal Portrait
Judge: – Robin Moon
Meeting Details:
7:30pm, Tuesday 26th September 2023
Sovereign Room, Castle Hill RSL Club
Sunday 8th October 2023
A discussion night about the benefits of mirrorless technologies.
Members will give presentations on their mirrorless:
Nikon Z9 – Peter O’Brien
Canon R5 – Roger King
Sony – Rob Clarke
Fuji – Paul Szilard
Olympus – Akos Lumnitzer
Learn how to start capturing videos on our cameras
Commercial documentary photography - controlling the uncontrollable by Nick Rains. Nick Rains is the Principal Instructor for Leica Akademie Australia. He brings thirty five years of broad experience as a professional photographer to his role, and he remains a working photographer, shooting assignments around Australia and the rest of the world. Nick is a Master of Photography with the Australian Institute of Professional Photography (AIPP) and in 2002 Nick was awarded Australian Geographic magazine’s Photographer of the Year and continues to shoot assignments for the magazine all around Australia. Nick is also a Leica Ambassador for the SL System, as well as the new CL System which works well when he wants to travel light, such as during a recents trip to Africa, Cuba and Myanmar. Post-production is another of Nick’s strengths, he is an acknowledged Photoshop and Lightroom expert and has been involved in teaching advanced courses in these two industry leading applications for the past ten years. Nick is also an ILFORD Master Printer, making fine prints for exhibitions and often takes on consulting roles with inkjet manufacturers.
Negative Space Competition
The Brief
- It is not uncommon for a judge to say ‘I would crop here as this does not add to the story’
- Negative Space is the opportunity to do the opposite and include vast amounts of ’empty space’ whilst the subject is small but obvious in the overall image space.
- But the key is that this ’empty space’ needs to be in harmony with the subject and actually enhances the subject by giving the subject a context that would be lost by a tighter crop.
- The ’empty space’ does not need to be a uniform colour or texture but it should be neutral and compliments the subject or adds context. Thus, busy backgrounds are not negative space.
- Look for the story as this type of image has to trigger the viewers imagination.
What you can learn:
- See the scene before composing and capture
- Is Manual with set ISO better than Aperture or Shutter Priority
- Learn to ‘see’ opportunities and compositions in situ
- Get out and about with your camera
Sports Action Competition
The Brief
- Any sport that showcases movement
- The movement can be frozen or has motion blur
- If frozen, it must be obvious that the captured action is the result of movement
- The action should be relevant to the sport depicted
- Look for the story.
What you can learn:
- Control of shutter speed to freeze action or to allow motion blur
- Be in the moment to capture that ‘instant’ when an action of interest occurs
- Use of continuous autofocus to maintain the subject in focus during the action
- Decision between Aperture Priority, Shutter Priority or Manual with Auto ISO
- Use of Back Button focus
Our 2023 Award Night is on the 10th December commencing at 7.30pm. Tickets will go on sale from 1st November and bookings for the event closes on the 23rd November, 2023.
The cost of the ticket is $45.00 per member and includes a three course meal and tea and coffee to follow. A limited bar bill is also included.
Come and join your fellow members as we celebrate the end of the Competition Year – announcing the Image of the year, the transition for Grade B members to Grade A, the winner of the Brian Coleman Award and so much more.
To purchase tickets, log in to the Castle Hill RSL Photography Club MyPhotoClub site and locate the private calendar entry ‘Award Night Tickets’. Open it and click on the green ‘Tickets’ button which will take you to our TryBooking site where tickets can be purchased.
Our 2023 Award Night is on the 10th December commencing at 7.30pm. Tickets are now available and bookings for the event closes on the 23rd November, 2023.
The cost of the ticket is $45.00 per member and includes a three course meal and tea and coffee to follow. A limited bar bill is also included.
Come and join your fellow members as we celebrate the end of the Competition Year – announcing the Image of the year, the transition for Grade B members to Grade A, the winner of the Brian Coleman Award and so much more.
(Note: when you click the Tickets button you will be taken to our TryBooking event registration page)
Join us, as we help out the Castle Hill BMX Club. They have asked us to photograph both the practise and their round of the BMX National Titles on the 3rd & 4th February, 2024. 10am – 4pm.
You must wear a HiViz jacket to do this. On arrival at the BMX Track please report to one of the Castle Hill BMX Team Managers.
This is a great way to practise your Sports Photography and panning.
Further details will be advised a couple of days before the event.
Jesse Marlow is a Melbourne based photographer. His works are held in public and private collections across Australia, including the National Gallery of Victoria, Australian Parliament House Canberra, Monash Gallery of Art, City of Melbourne and State Library of Victoria.
In 2003, he published his first book of photographs, Centre Bounce: Football from Australia’s Heart, (Hardie Grant Books). Images from Centre Bounce have been exhibited and published extensively, both in Australia and internationally. In 2005, he published a book of street photographs, Wounded, (Sling Shot Press). In 2006, he was selected to participate in the World Press Photo Joop Swart Masterclass in Amsterdam. While in 2010, Marlow was one of 45 street photographers from around the world profiled in the book, Street Photography Now (Thames & Hudson). He was awarded the International Street Photographer of the Year Award in 2011, and in 2012 won the Monash Gallery of Art’s Bowness Prize. Marlow released his third monograph, Don’t Just Tell Them, Show Them in 2014. In the same year, he was profiled in the Thames & Hudson book, The World Atlas of Street Photography.
Marlow is a member of both the international street photographers’ collective, UP Photographers and Institute Artists.
This will be a Zoom presentation at the club as Jesse is based in Melbourne.
The night will start with a short video on a topic of interest.
Monochrome is not simply converting and image to greyscale. A good monochrome should have black-blacks and white-white with shades of grey in between.
There are many ways to process a colour image to get the best out of the dynamic range of a mono version.]
We will look at the various methods from the ‘Don’t Do’ to the methods that may suit you best.
It is intended to be interactive so bring queations. And spend time afterwards to talk to others to learn from their experiences.
To start our yearly activities we would like you to join us at the Lynwood Golf Club on Wednesday 21st February at 1230pm for a social lunch. This is a great chance to catch up with all your Photography mates and help us plan for the year ahead. So come along with lots of ideas and enjoy a lunch overlooking the Lynwood Golf Course.
Closing Date: Midnight Sunday 25th February
Judging Date: Tuesday 27th February
Judge: Dennis Jones
Nature Set Subject Guidelines
This competition complies with the Australian Photographic definition for Nature.
- Nature photography records all branches of natural history except anthropology and archaeology. This includes all aspects of the physical world, both animate and inanimate, that have not been made or modified by humans.
- Nature images must convey the truth of the scene that was photographed. A well-informed person should be able to identify the subject of the image and be satisfied that it has been presented honestly and that no unethical practices have been used to control the subject or capture the image. Images that directly or indirectly show any human activity that threatens the life or welfare of a living organism are not allowed.
- The most important part of a Nature image is the nature story it tells.
- High technical standards are expected, and the image must look natural. Adding a vignette or blurring the background during processing is not allowed.
- Objects created by humans, and evidence of human activity, are allowed in Nature images only when they are a necessary part of the Nature story.
- Photographs of human-created hybrid plants, cultivated plants, feral animals, domesticated animals, human-created hybrid animals and mounted or preserved zoological specimens are not allowed.
- Images taken with subjects under controlled conditions, such as zoos, are allowed.
- Controlling live subjects by chilling, anaesthetic or any other method of restricting natural movement for the purpose of a photograph is not allowed.
- No modification that changes the truth of a Nature image is allowed. Images may be cropped but no other technique that removes, adds or moves any part of the image is allowed.
- Techniques that remove elements added by the camera, such as dust spots, digital noise and lens flare are allowed.
- Complete conversion of colour images to greyscale monochrome is allowed. Partial conversion, toning and infrared captures or conversions are not allowed.
- Images of the same subject that are combined in camera, or with software, by focus stacking or exposure blending are allowed. Multiple images with overlapping fields of view that are taken consecutively and combined in camera or with software (image stitching) are allowed.
- There is no separate wildlife section.
- Landscape images that depict nature at work that are not Australian landscapes are acceptable set subjects.
UNETHICAL PRACTICES
Can be but are not limited to the following:
- Live baiting
- Live feeding.
- Sacrificing a living creature. e.g. placing an animal on a feeding post to attract another animal or bird.
- Removing birds or animals from a nest.
- Disturbing birds in nests. e.g. removing branches to reveal nests and frightening birds nesting on the ground.
- Artificial restraints
- Reducing natural movement.
- Disturbing the natural environment.
For Roy Killen’s explanation of the definition see: Nature definition explained.
What you can learn:
- Choose the right depth of field. Photographing subjects in the natural environment can make for confusing backgrounds. Narrowing the depth of field can blur the busy background making the subject stand out.
- Nail the focus. If photographing a bird or animal, try and have the eye in sharp focus.
- For interesting landscapes that depict nature consider the composition, the rule of thirds, leading lines and balance to make a good image. Also look for patterns and texture or taking images with a different perspective.
- Consider photographing in the golden hour to create softer images.
Jure Kravanja was born in Celje, Slovenia, in 1960. He graduated in Sociology and Pedagogics in 1984. It was only later, in his forties, that he became interested in photography. The hobby quickly progressed into a passion, a way of life.
His work, concentrated mainly on abstract, architectural, and landscape photography, has been seen in publications such as Black & White Magazine, B Beyond and Foto Video; he has also taken part in several Slovenian publications on various subjects.
An established member of Onexposure and other leading online galleries, Kravanja has also exhibited at the New York Photo Festival, and garnered several international FIAP awards. Performing research at the Clinical Psychiatric Center Ljubljana Slovenia, his chief interest now lies in photography as a means of diagnostic and therapeutic treatment.
Landscape/Seascape Tricks and Traps
- Where/when
- Composition
- Foreground interest
- Slow shutter speeds
by Gary Elliott and Phil Stacey
Closing Date: Midnight Sunday 24th March
Judging Date: Tuesday 26th March
Judge: Tim Moon
Set Subject Guidelines
A photograph of Australian natural land or coastal scenery, which may include people, buildings, animals, or other objects (example manmade roads/tracks & fences) provided these elements do not dominate the photograph.
Elements such as cultivated fields, farms and astrophotography are permitted but must not dominate the photograph. Seascapes with no land do not fit the section.
No modification that changes the truth of the Landscape image is allowed. Images may be cropped but no other technique that removes, adds to or moves any part of the image is allowed. This includes sky replacements.
Techniques that remove elements added by the camera, such as dust spots, digital noise and lens flare are allowed.
Complete conversion of colour images to greyscale monochrome is allowed. Partial conversion, toning and infrared captures or conversions are not allowed.
Images of the same subject that are combined in camera, or with software, by focus stacking or exposure blending are allowed. Multiple images with overlapping fields of view that are taken consecutively and combined in camera or with software (image stitching) are allowed.
What you can learn:
Composition in landscape images is vital in leading the viewer through the image. Before taking the image is there a clear subject and how do the elements of composition lead the viewer to the subject.
Shutter speed can convey action in seascapes, long exposures can flatten moving water emphasing the subject and slow shutter speeds can give a silky fell to moving water.
Nick is chief photographer at The Sydney Morning Herald, has specialised in environmental and
meteorological events such as storms and bushfires for 20 years, covering major events such as the 2001
Black Christmas, the 2003 Canberra fires, the 2004 Asian Tsunami and the 2009 Black Saturday, as well as
each storm season and several USA tornado seasons. Day to day he covers news in Sydney for the SMH,
where he has worked for 30+ years.
On Camera Flash is a very convenient way to control light in difficult situations.
The quick and simple way is to use TTL (Through The Lens) which is like the Auto mode for flash.
But if you want to take control and want to ‘balance’ the ambient light with the flash power then this is the training night for you.
We will learn how to exposure for the ambient light and then add the flash power to light the subject as required.
The ambient light will influence how the background can appear. It can be dark, current light level or high key.
So, how do you do this?
Come and see.
ABOUT
The event is in the Gallery Room on the top floor.
The day will start with an Introduction to Photography which covers the fundamentals of photography and is intended to get members to shoot in manual and RAW.
There will be exercises to understand how the camera meters exposure, what is Depth of Field and how to balance flash and the ambient light.
Attendees will need to bring their camera, flash, tripod and manuals.
There will be experts for the major brands who will be able to assist in getting to know the functions of your camera that you are not familiar with or even know about.
Cost is $30 pp and lunch will be BYO or the members cost in the cafeteria. This is due to the many varied dietary requirements that people have these days.
Tea and coffee will be provided in the room.
The Experts also need to register using the Expert Registration option which is at no cost.
Closing Date: Midnight Sunday 21st April
Judging Date: Tuesday 23rd April
Judge: Linda Fury
Monochrome Set Subject Guidelines
- Any photograph containing shades of only one colour (including black and white).
- If toning is carried out, it must be over the total photograph; partial toning and/or the addition of one extra colour is not acceptable in a monochrome section.
What you can learn:
- Consider the tonal range of an image (range from white to black). An image that has a high tonal range can lift an image compared to a low tonal range that can appear flat.
- Images with busy backgrounds can be converted into monochrome to emphasise the subject. It is worthwhile experimenting with some images and see if there is an improvement when converted to monochrome.
Meet at 5.45am at Glebe Pint Park/Pope Paul VI Reserve – the corner of Federal Street and Glebe Point Road. First light is at 6.02am and Sunrise at 6.27 am. After the shoot we will have breakfast at a local cafe. Bring a tripod, ND Filters, Head lamp or torch and ND Filters.
JP Stones is a narrative photographer currently based in Mexico. He believes that photography is a
fascinating narrative medium because it lacks a key ingredient that feels essential to storytelling: time. It is
his belief that improving as a Narrative Photographer is often about learning to bring the illusion of time
into images. He describes how storytelling is powerful, but also confusing. How can one photo tell a whole
story?
In his presentation to the club, JP will help us understand how he adapts a story for photography, sharing
his most recent and amazing photos of one of the icons of Mexican history: the Charro – the original
cowboy.
Members Benefits by Geoffrey Rimmington Members Benefit Coordinator
An Introduction/Update on our Corporate Sponsors and Preferred Suppliers, the Benefits that are available to the Members of the Castle Hill Photography Club and what you should know about these Corporate Sponsors and Preferred Suppliers before you purchase your next Camera or other Photographic Equipment.
What Judges are Looking For
We are used to competitions and judges’ commentary.
But what are they actually looking for? Or what we are hoping they are looking for?
A panel, led by Jon Burton, will cover the critical areas of Subject, Composition and Technical.
In MPC, there is a Critique Corner where members can submit images for peer review. This can be a ‘softer’ way for members to get feedback on their images.
The panel are also calling for 1- or more images submitted by members for commentary by the panel.
CHRSLPC has an interclub competition with the Axholme Club in the UK every six months. In May Axholme chooses the competition set subject and in November Castle Hill selects the set subject. Axholme has chosen Street Photography as the competition set subject, we now require images to enter this competition. There is a UK judge and an Australian judge and the club with the best overall scores is the winner. Steet photography is a lot of fun, now is the time to practice some street photography and submit some entries.
As a guide most people do not mind if you take their photograph. Avoid children and homeless / distressed people.
Street Photography Definition
Street photography is a genre of photography that records everyday life in a public place. Street photographers capture spontaneous moments of people in a candid state, often without their knowledge. Street photography is not directed or staged, and it communicates the experience of everyday life and the vision of the artist by careful framing and timing.
Link to competition entry:
