Photography News Issue 45

Interview 21

Photography News Issue 45 absolutephoto.com

MirandaWood LRPS

me capture different positions within the same frame. "In Without a Care (above right) and Full of Grace (below) I wanted to give the feeling of what would happen next if the image came to life, so it took just one flash at the decisive moment. “The project has taught me how achieve and to coordinate with them. "Timing is so important. Having an idea to share with the dancer at the start of a shoot helps to get things moving. From there, new ideas are born and everyone has a lot of fun. "This is also my first exhibition so everything to do with it has been a learning curve for me. I am so grateful to have worked with experienced photographers.” important it is for the dancer to understand what you’re trying to

Biography Miranda completed a short photography course with the Open University in 2011 followed by an evening course at her local college in 2012. She gained her RPS Licentiateship distinction in 2014 and has been a member of Exeter CC since 2012. Selected gear Canon EOS 5D Mark II and 24-70mm f/2.8L II “I have a love of light painting, and having achieved interesting results with wire wool spinning and speedlights. Showing the movement of dancers was a similarly interesting challenge. “In Spiritual Dancer (bottom) and Illusive Ballerina (above left), the ‘slow motion’ look required a slow shutter speed and several bursts of flash, letting

John Sanders ARPS

Biography John joined Exeter CC in 1984 and became club president in 2010. He specialises in studio work and organising a number of one-day workshops for other Exeter Camera Club members. Selected gear Nikon D800 with 24-85mm f/3.5-4.5 “I’ve always been fascinated by the relationship between the still image and movement, and I've extensively studied the life and work

“Of the images submitted for the exhibition, I’d like to make specific mention of the image titled A Helping Hand which features Kevin French, a severely disabled performing arts based in Plymouth as it demonstrates the inclusivity of dance. “As a photographer you can never stop learning new skills and techniques. This project has taught me that there’s great value in working with a group of motivated people who are prepared to share their knowledge and experience in the interest of the team as a whole.”

for the exhibition really put our group skills to the test. We wanted to ensure the work demonstrated how each of us tackled the theme, hence the exhibition’s title, Keep Moving Still. To avoid duplication and maintain a high standard we had to jointly agree on the 50 images we would show in the exhibition.” Then there was the matter of naming the pictures, printing them to an exhibition standard and size, mount, frame and hang them. A serious task, but a successful one, says John. “It was a huge achievement. So much so that, we have agreed to continue with the Dance & Movement group, A. Ewing in his introduction to Lois Greenfield’s book Breaking Bounds , sums this up for me very nicely: ‘Capturing graceful forms of individuals in flight by slicing a moment into a fraction of a second, Lois’ camera reveals what the human eye cannot see’. of Eadweard Muybridge. I acquired my Associateship with the Royal Photographic Society via a panel of dance photographs, and since 2010 I’ve participated a number of shoots with dancers. “I think the words of William

and expand the theme. The next opportunity is a studio shoot with a group of female taiko drummers!”

Have you got a story to tell?

Picking images for the exhibition really put our group skills to the test

We are always happy to hear of the exploits of photographers and clubs and share them through our pages. If you have a story to tell, email the editor in the first instance: willcheung@ bright-publishing.com

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