Morpeth Camera Club
On February 26, Morpeth Camera Club held a members’ night.
Sophie Elliott-Edwards, our newest member, studied photography at college and has continued to enjoy photographing landscapes, wildlife and macro shots.
Only having lived in Morpeth for two years, she is keen to photograph local beaches and sunrises.
Her audio visual presentation, set to soft music, included rocky outcrops in the mist, waterfalls and sand patterns. Birds of prey, deer, puffins, elephants, orangutans, snakes and butterflies were also included.
Alastair Cooper, describing himself as an ‘old newby’, showed photos taken on Arran and Islay, which included the distilleries, Lochranza castle, Holy Isle’s forests and a lighthouse — locations where he had holidayed as a child.
Then came images of his beloved Harley Davidson. With stories of road trips all over the USA, we saw gleaming machines.
He followed with macro shots of seed heads and flowers, then Battle of the Somme murals and monuments to the fallen and to animals that served.
Kelpies with angry eyes cleverly added, red tractor wheels, smokestacks and steam engines concluded Alistair’s presentation.
John Barnes came next with Timeslip. Illustrating his love of history, and with interesting facts, he took us to heritage properties, including Abbotsford House and Sir Walter Scott, Audley End, Brodsworth and Hardwick Hall.
Images followed of Gainsborough Hall, with stories of visiting royalty, tales of Rievaulx Abbey’s Cistercian monks, and Tilbury Fort where Elizabeth I rallied her army to face the Armada.
To finish, John showed ‘hidden Northumberland’, the remains of The Moor Inn, off the old coach road from Wooler, with tales of smugglers, highwaymen and ghosts, proving you don’t have to visit big houses to explore history.
Brian Morris followed with a tutorial on Photoshop.
With an image of a busy street scene, he showed his way of subtly changing a scene to accentuate the focal point, which was an old Citroën 2CV.
Going through levels, cropping, changing to monochrome and sepia, and bringing out colour sections, he advised experimenting. Monochrome doesn’t have to be black and white, subtle changes make a difference.
Paul Appleby was next with images of his recent trip to India.
We saw near collisions, bullocks and pigs causing mayhem, village scenes of ladies mixing cement, schoolchildren, dinner ladies and teachers.
There were exotic birds, monkeys, crocodile, locusts and bats, and back to village life in Rohet, images of welders, street barbers, tailors and chapatti makers.
Shots of Phulad by rail concluded Paul’s insight.
Peter Downs concluded with an original photograph of grasses in his garden, then by using the fractalius method, he showed abstract and stylised versions.