Photography News Issue 45

Interview 22

Photography News Issue 45 absolutephoto.com

David Snowdon LRPS

Biography Shooting since he was a teenager, David joined Exeter CC to help restart his photographic journey with the advent of digital SLRs, and had finally became president of the club. Selected gear Canon EOS 5D Mark IV and 24-105mm f/4L “When I was asked to join the movement project I was already working with several dancers in the area, but the project helped me focus.

best in the business). "In my studio, I often used a beauty dish with a grid placed above the dancer, giving just a spot of light on the dancer. Using a large piece of material also helped to give a flow to the image. “I certainly learnt many people skills along the way, and how to direct which is an art in itself. "You need to understand the dancers’ art, and they need to understand yours. Once the rapport is established the ideas started flowing for both of you.”

Within the group, we were already close friends and the ideas came pouring out. “I wanted to show the beauty of dance by either freezing the movement, showing the viewer something the naked eye wouldn’t be able to notice during a performance, or using a long exposure to give the feel of movement. “For the exhibition images I shot both in my studio and at a Nicola Selby workshop (I felt I had so much to discover about dance and movement photography, I should learn from the

Alan Bastin LRPS

Biography With a background in film photography, Alan bought his first DSLR, a Canon EOS 350D in 2005 followed by an EOS 7D in 2009. He’s been an enthusiastic member of Exeter Camera Club for eight years. Selected gear Canon EOS 5D Mark III and 24-105mm f/4 “I had previously worked with John Snowdon on several dance shoots and was really blown away with his ability to create visual art images which showed the beauty and complexity of the dance. "So when he formed the Dance & Movement Group and invited me to be part of it, I couldn’t turn down the opportunity to be involved with such an inspirational clique of photographers. “Most of my selection were taken in Dave’s studio using white or black backgrounds I had the opportunity to replace the backgrounds with textures therefore creating a more soft, dreamy look. Also I wanted to experiment with slow shutter speeds and multiple image techniques. “Throughout the project, I’ve realised how beneficial it is working in a team, improved my knowledge of studio lighting, and shared post- processing ideas. Each of us has brought something new and different to the table and we’ve all worked so hard to make it a success.”

Di Wilkins LRPS

all its forms the ideas began to flow. John had many contacts, which gave us a way forward, and we did, and still do, lots of research into different genres of dance, as well as how different photographers approach the subject, including Lois Greenfield and Jordan Matters. “Having used flash and continuous lights, I came to realise my favourite images were those that showed more movement, often those that I took with no flash. "The slower the shutter the more I liked the feel of them. The movement has become of more interest to me than the people themselves. "However, I realise that the dancers want at least some images where they can recognise themselves! The dancers are the ones that know what they are doing and you end up working as a team and by doing that get some really superb results.”

Biography Di joined Exeter CC in 2006 as a novice. Working with experienced photographers, it soon became a passion and within a few months she was secretary of the club, going on to become vice president, and eventually president for two years. After 11 years she stepped down from the committee, wanting to spend more time pursuing this, and other projects. Selected gear Fujifilm X-T2 and 18-135mm f/3.5-5.6 “Although I’ve always been interested in dance I never had the knowledge or the contacts to progress with shooting in that field. "So, being invited to join the group was an opportunity to turn an interest into a living breathing project. “Once we started looking at dance in