Satellite Group Updates

LIP Film and Darkroom Group May 2019 Meeting

This month’s meeting continued to surprise us all, with the sheer variety of formats, processes and subject matter that our members are drawn to.

Ian Turnbull began by showing us a very unusual camera he’d kindly brought in – a Widelux F7, which uses a 26mm lens focussing through a horizontally moving vertical slit, to produce a ‘panoramic’ negative on 35mm film. As well as showing us some of the images he himself has created over the last four years, Ian also introduced us to other names known for using the same format, such as Jens Olof Lasthein and the actor Jeff Bridges, who published a book of his on-film-set Widelux photographs.

Frederique Bellec described her experience at Bright Rooms’ darkroom in Peckham and showed us some of the results from her first session there with 1 to 1 tuition. She also explained how her choice of monochrome film or colour digital processes influences the subjects she is drawn to.

The group then discussed the idea of holding our own darkroom sessions with the more experienced printers offering guidance to those less familiar with that environment.

Ted Kinsey put forward a proposal for a field project to begin in August, instead of our usual meeting that month. Some ideas for the film and darkroom seminar during the LIP Annual Exhibition also started to take shape, these will be confirmed nearer the time.

Following Jo Stapleton’s generous offer to provide anyone interested with some of her self-made cyanotype paper, she then passed round a couple of books to peruse – ‘Anthotypes’ by Malin Fabbri, who also runs the website and ‘Experimental Photography: A Handbook of Techniques’ by Marco Antonini.

Don Holtum had brought in some of his vintage prints of disused government offices on Ilford Warmtone paper, the quality of which transcended my meagre description here.

Chiara Contrino, in contrast, showed us prints from her ongoing project since 2002, photographing horse fairs around the country, which then led to an interesting discussion on whether the gender and age of a photographer can make their potential subjects more at ease with their presence.

Other areas suggested for discussion in future included how to evaluate one’s negatives before starting to print, advice on ‘spotting’ prints, sequencing and editing, and choosing a project to work on.

The next meeting is on Monday 3rd June at 6.30pm. Anyone interested in coming along is asked to contact Ted Kinsey at Roberto Arendse

LIP Greenwich April 2019 Meeting

Jon Davies

Dmitry Stepanenko

Alan Larson

Jennifer Roberts

Shaun Waller

After the March meeting we had hoped Jon Davies would bring his Pollution project back for closer examination. This he did, showing some of the single images which he had used in making the composites seen last time (and again this time). These singles bore statistics on particulate concentrations at their locations. The figures came from research conducted at King’s College Environmental Research Group and Jon is now collaborating with King’s. The project will be exhibited at West Greenwich Library from 13th May to 15th June daily except Wednesdays and Sundays.
Dmitry Stepanenko followed with a set of images taken amid orthodox Jewish Purim celebrations in Israel. For most, perhaps all, of us this was a glimpse into the un-suspected. Dmitry’s usual careful composition was set aside for a closer, more direct approach in the midst of a day of fancy-dressed children and rather drunken adults.
Alan Larson had accepted a club challenge to photograph the Gherkin and had resolved to work on long views from Tower Hamlets. The result was a set of images contrasting the social housing areas with the distantly seen Gherkin. Debate ranged around the question of how to avoid cliches of suggested deprivation and how one can bring the intentions of such work into sharper focus.
Jennifer Roberts, usually a most urban photographer, brought images of the east Pyrenean landscape, first looking into suggestions of spaces and then closely at surfaces of rock, moss and vegetation.
Shaun Waller showed a brief video sequencing images of Lewisham Park, concentrating on blossoms though he spoke mostly of the development history of the park and the surrounding housing. There was feeling in the group that it would be interesting to see the two approaches brought together.
Carol Kenna added a brief sampler of mural work, some from her own Greenwich Mural Workshop, advertising the forthcoming exhibition For Walls with Tongues which will be at the University of Greenwich Project Space from 10th to 30th May.
Tony Othen closed a very varied session with an appeal for proposals for the Greenwich Performs season in October. Peter Luck

LIP Putney April 2019 Meeting


Sue White

Nigel Attenborough

Heather Wansborough-Jones

It was good to see so many members at the meeting and it very much underlined why we need to find a new venue, about which more later.
 We started this month’s meeting with a look at a project of Ann’s, where she gave us an intimate look at a trip she made a few months back with a charity she knows to a refugee camp in Greece. Very moving, with some lovely photographs, it is clearly something that has touched her and she continues to support the charity’s work since returning. Thank you for coming and sharing this with us Ann, I think we were all affected by what you presented.
 I then moved onto news re my search for a new venue, which has stalled somewhat – Martin kindly said he would re-approach The Coach and Horse’s for us and since last week I have written to The Putney School of Art to see if they might be able to help us. I shall keep everyone posted if any progress is made.
 I present some things that I have found on the internet over the past month.
We then moved onto our theme of the month, The River; taking my inspiration from the rowing events that happen around here at this time of year it was interesting to note that not everyone took my bait. Stand out’s for me this month would be Sue’s boats, Nigel’s Thames Barrier and Heather’s bridge. It was also good to note that most people took new pictures and didn’t rely entirely on their archives. Not a stipulation by any means, I think it encourages better comment etc. if we do try and bring new stuff to each meeting.
 As our meeting was moved this month, it gave me the opportunity to visit another LIP group, Crouch End, and I was struck by how much experimenting their members get into, with many presenting what they are doing, some of which were clearly a work in progress (and no less engrossing for that) and I felt it would be a great idea if we were to try something similar, so our theme for May will be ‘Experimentation’ and I look forward to seeing what people get up too.  
Our meeting will be at my home on 21st May unless otherwise advised and I look forward to seeing you all then Andrew Wilson.

Central London Group April Meeting

The subject for our April meeting was Suburbia.

The images on display showed that suburbia is not necessarily conservative or conformist (although it can appear that way with rows of similar houses and identikit streets). As well as the parks and stolid Victorian villas are gardens with mazes, still lives of random domestic objects and shops full of colourful produce. Pockets of eccentricity exist in even the most seemingly bland surroundings.

Steve Jones

Jim Paterson

Frankie McAllister

Edith Templeton

Our next meeting will take place on Wednesday 8th May 2019 at 18.45 at the usual venue – The Art Workers Guild, 6 Queens Square, Bloomsbury, London WC1N 3AT.
The theme will be Own Projects – a chance to discuss and show current photography projects, whether in process or at the planning stage. Please bring along any work you wish to share on a memory stick or in print or book form.

Dates and Topics for the Year

Wed 12 June – triumph/disaster
Wed 10 July – mundane
Aug – no meeting (poss trip?)
Wed 11 Sept – the sensing eye
Wed 9 Oct – Books of interest
Wed 13 Nov – Shadow
Wed 11 Dec – Abandoned

LIP Film and Darkroom Group April 2019 meeting

For various reasons, this month’s meeting followed on just 10 days from the last one, which did give an unexpected lift to the feeling of continuity.

Beverley Nelson began, with the interesting case of what happens when black & white and colour print films are both processed together in the same tank. The group was surprised to learn that they do ‘come out’, though we’re not sure how the colour negatives will print. Beverley also wanted to know if it was possible to replicate the effect of one of the inkjet colours running out on a digital printer, when working with darkroom printing. This is something of a reversal of the more usual quest of trying to simulate the results of darkroom processes when printing digitally.

Amanda Eatwell then ran through the chronology of how she began photography at college before then working on still lifes as a photographer’s assistant. We were able to examine a selection of negatives and contact sheets (mainly colour work) from this period, along with some final prints.

I was next, and, since I haven’t been active in the darkroom for over 20 years, it was with some trepidation that I opened up the print boxes to see how they’d fared in the intervening years. It appears all that attention paid to ‘archival processing’ was worth it, since there didn’t appear to be any yellowing or other degradation of the prints. Whether the subject matter (mostly landscapes) warranted the effort I will leave others to judge. I will say, though, that my current enthusiasm for reviving my darkroom definitely received a boost.

Following our customary tea break, a proposal was put forward for the group to make an active contribution to this year’s annual LIP exhibition, in addition to individual members submitting prints. The idea of a film & darkroom seminar was raised, with the possibility of a live demonstration of film processing.

Further ideas for the content of our monthly meetings were also discussed, and it’s anticipated that feedback from the members will help to fine tune the balance of the technical/aesthetic as we progress.

Sam Tanner’s book was passed around and much admired, and Ted Kinsey showed us we needn’t completely eschew inkjet printing, by demonstrating how he records a darkroom printing plan onto a full size inkjet print of the same negative, along with test strips glued on in the corresponding position.

Jo Stapleton had brought in cyanotypes made on hand-coated paper, contact printed via acetate inkjetted inter-negs. We also got to play spot-the-difference with Don Holtum’s meticulous comparisons between HP5 and Pan 400.

Further photographers put themselves forward to show work at the next meeting, which is on Wednesday 1st May at 6.30pm. Anyone interested in coming along is asked to contact Ted Kinsey at Roberto Arendse