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DECEMBER 2016 Vol. 72 No.

12

VIEWFINDERwww.fip.org.in

72nd Y E A R O F P U B L I C A T I O N
African Wild Dogs with Kill PRAKRUTI P KUMAR, India
CM

Olive Ridley Turtle Mating SANTOSH KUMAR JANA, India


FIAP Gold

BAILLONI PAULO GUERRA, Brazil


FIP Bronze
VIEWFINDER
OFFICIAL ORGAN OF THE
FEDERATION OF INDIAN PHOTOGRAPHY
Editor :
Anil Risal Singh
MFIAP, ARPS, Hon. FIP, Hon. LCC, Hon. FSoF, Hon. FPAC
Hon.TPAS, Hon.FSAP, Hon.FICS, Hon.PESGSPC, Hon.FPSNJ
e-mail : anilrisal@gmail.com
federationofindianphotography@gmail.com
www.fip.org.in

DECEMBER 2016 Vol. 72 No. 12

CONTENTS
3 EDITORIAL

4 CHAIRMAN'S REPORT– 3rd FIP GRAND CIRCUIT

5 JUDGING SESSION OF 3rd FIP GRAND CIRCUIT

6 PHOTOGRAPHY AS A PASSION

10 ACHIEVEMENTS

11 From Archives - FOX TALBOT - HIS LIFE FAMILY AND CHARACTER

15 MAIL BOX

16 OBITUARY

17 CLUB NEWS

18 RESULT OF FIP ELECTION FOR 2017-18

19 SALONS

Cover Picture :
PORTRAIT 64
ANIKET PAUL, India, FIP Gold
VF NEXT ISSUE -
28th FIP CONVENTION, UDAIPUR
VIEWFINDER DECEMBER, 2016 1
FEDERATION OF INDIAN PHOTOGRAPHY
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Tel. : +91-612-2667051, +91-98350-21092
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Anil Risal Singh Dr. B. K. Sinha,
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2 VIEWFINDER DECEMBER, 2016
Editorial
T his issue of our Viewfinder is all about 3rd FIP Grand International Circuit –
Digital & Print, 2016. Every year Federation of Indian Photography is taking
this initiative to organise one International Circuit, that too – Print and Digital.
Although number of participants specially foreign are on the lesser side, but
this is the on-going trend these days, perhaps every Indian Salon is getting
small number of entries, may be due to - too many Salons are being organised
in our country presently.
Our last two catalogues got 5 star rating, and I am very sure 3rd one will get
the same. Our catalogues are of world standard, possibly one of the best. In
my opinion one of the main attraction to participate in any International Salon
of Photography, is to acquire a good catalogue, these days printing a
catalogue is rarity, very few Salon organisers are courageous enough to print a
catalogue, majority of them are going for CD catalogue or worse as even
going for pdf catalogues. Printing of a Salon catalogue is very serious
business, which requires lots of guts, labour, planning and above all finances,
and Federation of Indian Photography is having all of these – a very positive
sign indeed.
I will again repeat my words to say that Salon photography and organising
Salon is a very pious and righteous activity, Salon gives us a lifetime
recognition and tremendous self-satisfaction and contentment. From the
history of art (image making); this is very important to realize that after much
efforts, lately photography was also recognised as a creative medium for one's
self-expression, as of other mediums of fine art. This has been an issue
defended by Pioneer Salon Photographers when Salon started less than a
hundred years ago, and we should guard this sanctity and holiness. Salon
photography is immensely popular, in particular among the Indian
community and it has a huge following worldwide. We should always
remember this fact and accordingly respect and honour it. I feel is our duty to
protect the purity and sacredness of Salon activity.
A different subject and entirely a different topic and issue altogether - at
present your editor is also President of Federation of Indian Photography, but
till the end of the year of 2016, because I am completing two term 2014 -15
and 2015 – 16. I tell you it was fabulous journey, the love, respect, reverence
and admiration I got from the members of FIP is un-parallel and beyond
compare and this is the time to expression my gratitude and gratefulness –
I want to thank you all from the bottom of my heart for your love, respect and
reverence, it was wonderful and magnificent.
Winter has already knocking , temperature is going down and it is misty and
hazy specially in the north, trains are running late, flights are also effected by
the adverse weather conditions, but it is also true, when winter is knocking
the doors means Christmas is approaching and forthcoming fast and New
Year is also not far ahead, so I take this opportunity to wish you all – a Merry
Christmas and a very happy New year.
Anil Risal Singh
VIEWFINDER DECEMBER, 2016 3
CHAIRMAN'S REPORT–
3rd FIP GRAND CIRCUIT
The Judging session of the 3rd FIP grand Circuit is just over. It has been
a wonderful experience to host 12 jury members, web team and other
officials for the smooth conduct of the salon.
We were able to accommodate all the dignitaries coming from across
the length and breadth of the country into one hotel with clean and
comfortable rooms.
It was indeed a challenge to arrange 9 laptops for judging and one as a
master computer but many jury members roped in with their own
laptops. The projection too was of the highest order. Even bigger
challenge was to get the prints in the right order following each salon
judging. This was wonderfully done by our volunteers with the help of
circuit officials and at times by the members of the jury as well.
Getting the prints in the right order would not have been possible
without the help of our Web master Mr Mrinal Bandyopadhyay and his
team members who arrives 2 days earlier to arrange the sets. Many
trial runs were undertaken and finally the event passed off without any
hiccoughs.
Salon stats will be printed in the salon catalogue in the due course of
time. Our endeavour will be to bring another 5 Star catalogue which
has become an envy for many.
Business accomplished, it was time for some well deserved recreation.
Our first outing was to Patna's pride Patna Biological park where we
met the director and saw the butterfly zone.
On Sunday the 20th of November we travelled to the world famous
Sonepur Mela where all the guests and local photographers shared
their knowledge and skills.
By early afternoon we were back at Patna and following a sumptuous
meal at a local restaurant the guest assembled at my residence for high
tea.
Lastly there was a closure ceremony where the guests described their
experience and thanked the local photographers for all the logistics
and help provided.
On the behalf of the organising committee and the entire FIP family i
wish all the readers a very happy Christmas and New Year

4 VIEWFINDER DECEMBER, 2016


JUDGING SESSION OF 3rd FIP GRAND CIRCUIT

GROUP WITH JURY MEMBERS & OFFICIALS

JUDGING IN PROGRESS
VIEWFINDER DECEMBER, 2016 5
PHOTOGRAPHY AS A PASSION
Tuhin Kanti Das, AFIAP, FFIP, AICS, ES.USPA, Hon. PESGSPC
Oxford Dictionary says: Passion is a very strong emotion, an intense enthusiasm for
something. The term is also often applied to a lively or eager interest in or admiration for
a proposal, cause, or activity or love. A love for something and a passion for something
are often used synonymously. Passion can be expressed as a feeling of unusual
excitement, enthusiasm or compelling emotion towards a subject or idea.
The passion for Photography derives from the inner-directive of self-recreation and art
for art sake. The person who feels strong emotion or enthusiasm regards his own
creation of art but the medium is only photography.
Photography, method of picture making developed in the early 19th century, based on
principles of light and optics. The word "photography" comes from Greek words and
means "drawing with light." Every day more than billion exposures are made with still
cameras throughout the globe. Photographs serve many requirements like as
advertisement of a commercial product, forensic and criminal investigation, scientific
evidence, conveyers of news, historical documents, records of family life, land survey of
earth and outer earth body, secretly watching the foreign activity from space and
obviously Individual Works of Art. Now, the "Photography as a Passion" reflects on the
individual works of art chapter.
As a picture-making medium, photography is substantially different from painting,
drawing, and print making. But it also shares many common assumptions with them,
including the idea that certain pictures rise
above the rest and therefore deserve to be
called great. If a photographer makes a number
of great pictures, then she or he certainly
achieves a reputation for greatness.
Photography is one of the many ways we
express ourselves.
A camera catches our imagination. We should
remember: no imagination, no photo. The word
"image" comes from the word "imagination." Title : Night Trail
But apparently there are many fellows who believe that once they buy a good camera
they will be able to take great pictures. But, this is the myth. The fact is, if we can't take a
decent photograph with a reasonable quality point and shoot, then we probably won't
fair many betters with a valuable SLR. (For your reference: Generally, there are two types
of camera : 1. common Point & Shoot camera & 2.comparative costly Single Lens Reflex
camera.) This is the fact that composition is one of the most basic fundamentals of good
photography, and if we can't follow it on a point & shoot camera, it's not going to get
much easier with a SLR.
Ansel Adams, the great master of landscape photography, said "You don't take a
photograph, you make it". It is true that the good photograph is a result of sound
knowledge of photography. But good photograph is the joint venture of technical
knowledge and creative mind. There are few factors regarding the technical knowledge
and rule of composition is most important of them.
6 VIEWFINDER DECEMBER, 2016
- Now, what is Composition? Simply it can say
that it is the arrangements of the parts of a
picture. There are various pattern of
composition and most commonly used
composition is rule of thirds.
Rule of Thirds:
Here is a handy rule to follow that will help you
to compose a super picture almost every time.
Title : Rainy Day In your mind, divide the picture area into thirds,
both horizontally and vertically. Place the most important
part of your picture, your center of interest, at one of the
four places where the lines cross. A person who is the
center of interest should look or appear to be moving
toward the center of the picture. Try to place horizon lines
on one of the horizontal dividing lines.
Golden Point
But remember, there is no rule! This is the rule of perfect
photography, especially in fine art or pictorial photography. Photography is a creative
process and anybody else can choice its different genre as a medium of self-expression.
Beauty can be seen in all things, seeing and composing the beauty is what separates the
snap shot from the pictorial photograph.
How would you like to create your own impressionist landscape, a Van Gogh still life, or
a surrealist Salvador Dali dream world? Or perhaps a classic Ansel Adams photographs
of Yosemite or an authentic looking 19th century Daguerreotype?
Everything is depending on the choice of a photographer's passion.
Pictorial Art Photography is a photo
that have been taken and post
processed with an artist's eye. Even
though photography is an art in itself,
few of us can really consider it as an
art. True Pictorial Art Photographs are
photos that are unique, photos that
stand up and shout out a story, photos
that are rare, one-of-a-kind types of Title : Cyclist
photos. Everyday sunset, landscape,
grand kiddies or pet photos are not like that. In fact the art symbolizes infinity and it is
tough to consider its meaning in finite terms. Art sense is born in the spiritual part of a
human body and an irresistible urge to communicate both makes a sense of Passion.
Even with an eagerness and irresistible urge for communication one might not turn out
to be an artist unless one knows how to communicate and what to communicate. Artist
is never afraid to experiment and try out new things in photography; there is a time and
place for rules and a time and place for no rules. In art, there are no rules.
Just like other artists, the true artist should specialize in a certain type of photo art; that is
not to say they only take photos of certain things, of course not. But every photographer
has certain subjects that are their favorite items to photography and that are what they
photograph the most, which are the artist's specialty.
VIEWFINDER DECEMBER, 2016 7
Most photographers are always looking
for something interesting, I consider my
specialty: street photography,
landscapes and Pictorials are my
specialty. Your specialty will be part of
your style; every artist has their own
style and you will also. The artist
photographer needs inspiration just like
all artists and there is much inspiration
Title : Shadows all around us, sometimes we may find
inspiration is a lovely scene, which we come across. Part of our inspiration may come
from our target audience with their appreciation towards the art not artist.
But we should remember that appreciation
would help us the find out our path but not final
target. We have required of some judgment.
These appreciations are the verdict of
judgment from your audience. Now, what is
the procedure to face the judgment? Primarily
please share your photographs with your
nearest then share with other photographers.
Through this process you can guess the quality
and potentiality of your photographs. In the
next step, you can share your photographs with
all magazines of your region and nationwide.
At present, there are three photographic
magazines, which are published in English
nationwide, and various photographic
magazine in regional language of your Title : Company
respective State and State Capital. Please approach the editors to publish your
photographs and it is sure if there is a minimal aesthetic quality, the said photographs
must be published. After publication, the photographer will be categorized into a
different category!! (Yes, there are two categories among the photographers, published
and non-published!!) But remember, it is only the starting event of your journey! There
are so many target to achieve, like Nikon World Photography Contest, National
Geography Photo Contest and so on.
Now, what is the reason behind these activities?
To guess the quality of your artwork (photography).
What so ever may be, the photography competitions take place worldwide. But in
primary stage we should take part in national competitions which called "Indian
national Photographic Salon". These salons are mainly organized by local photographic
clubs under the aegis of national bodies like IIPC (India International Photographic
Council) or FIP (Federation of Indian Photography). International salon conducting
authorities are FIAP (Federation Internationale De Lárt Photographique), PSA
(Photographic Society of America) etc. Mostly successful exhibitors are awarded by
8 VIEWFINDER DECEMBER, 2016
various distinctions of IIPC, FIP, FIAP or
PSA. The photographers are generally
used these prestigious distinctions/
titles after their name to notify their
photographic status!!
So, before facing the Photographic
Competitions we have to remember
that the pictorial art aims on aesthetic,
emotional and obviously intellectual
effect only.
Title : Myself
A piece of artistic work is very likely to
be interpreted by different individuals in different manners.
If everybody comes to same
conclusion in respect of particular
work, then it is doubtful whether
that work is a piece of artistic work.
So, competition among any
artwork is not a ridiculous subject?
Dear reader, can you imagine a
competition among the world
famous paintings? If our target is
Title : Twilight symbolize the infinity in us, self-
digging is the only process. Although, any photo artist is bound to be influenced by
his/her time, environment and also by society.
The artist must convey the messages to society
in unbiased approach in respect of social
responsibility. A social responsible photograph
speaks 1000 words. So, a passionate
photographer must therefore find new ideas
and style to convey the inner feelings.
Ultimately, a passionate photographer, (he/she
may be a published or unpublished, may be a
winner or loser of a prestigious photo contest,)
Title : The Destitute
must not care whether others appreciate
his/her works or denounce, strive for
symbolize the inner infinity in a finite
medium i.e. through photography.
***

Title : Pearls

VIEWFINDER DECEMBER, 2016 9


Achievements
S. THIPPESWAMY
Mysore based Wildlife Photographer Shri S. Thippeswamy, FRPC, EFIAP and
senior member of Federation of Indian Photography, secured Best Nature
Print of the year Award from the Photography Society of America.
Every year Photography Society of America conducting the nature image of
the year competition in both digital image and print category. They invite the
award winning images recognized by the Photography Society of America
throughout the world. Further, a panel of jury judge such award winning
images and pictures score highest marks, consider as the picture of the year in
both Digital Image as
well as Prints in nature.
His picture titling
“SHORT TOED SNAKE
EAGLE FEEDING”
Awarded the best nature
print of the year.
As per who is who the
photography Society of
America in nature print
section, I am the top
third exhibitor.
Recently Shri S.
Photo : S. Thippeswamy
Thippeswamy also
awarded MICS Distinction from the Image Colleague Society, California, USA.
SMT SHARMALI DAS
Sri Rajesh Pandey, IAS, Chairman and Managing Director of West Bengal State
Electricity Distribution Co Ltd. felicitated Smt Sharmali Das, a member of
Chhayapath, Calcutta, on October 26th, 2016 in an august gathering at
Vidyut Bhavan, Kolkata for her international accreditation in photography.
Smt Das is the first Indian lady who is honoured with EFIAP/bronze and
EFIAP/silver.
After obtaining her Diploma in
Photography from Chhayapath,
Calcuctta in 2007, she became a
member of the same club and
started participating in
International Salons in 2010.
Smt Das got more than 300
works accepted and 30 works
awarded in FIAP recognized
Salons. Members of
Chhayapath, Calcutta are
extremely proud of her
photographic achievement.
10 VIEWFINDER DECEMBER, 2016
Girl with a cello 3 Zoltan Lokos, Hungary
FIAP Gold

JUNIOR LAMAS (Colour Print) SUJOY DEBNATH, India


FIP Silver

Pinnacles summer sunset VICKI MORITZ, Australia


CM
Life at Foothill 5 S.P. MUKHERJEE, India
FIAP Gold

FLYOVER (Colour Print) GOPAL BHATTACHARJEE, India


FIP Silver
CURVING TUNE (Monochrome Print) GOUTAM CHATTERJEE, India
FIP Gold

Verdriet in Doel in Zw DANIEL LYBAERT, Netherlands


FIP Gold

BROKEN SOUL SUNIEL MARATHE, India


FIP Silver
Cheetah cub helps BOB DEVINE, United Kingdom
FIP Gold

Leopard ready to eat S. THIPPESWAMY, India


FIP Bronze

Brothers fight K.P. SUDHEENDRA, India


FIAP Gold
From Archives
FOX TALBOT - His life, Family and Character
Chris Roberts, MA, Hon. FRPS
In this celebratory year for photography, much has been written of the contributions to its
discovery by Fox Talbot. Here Chris Roberts, a former President of the RPS, discusses the
character and highlights the many skills of Fox Talbot, a man of true genius. The paper was
presented in part at the 42nd Annual Conference of the Society of Photographic Scientists
and Engineers at Boston, Massachusetts, in May, and at ISIS '89 at Dresden, Germany in
August.
William Henry Fox Talbot was born on 11 February 1800 at the home of the Earl of llchester
who was his maternal grandfather. His father was an army officer — William Davenport
Talbot. His mother, Lady Elisabeth Fox-Strangways, was the eldest daughter of the Earl of
llchester. She was a strong-minded woman with high standards and she had a tremendous
influence on Fox Talbot's life. This was to some extent due to the fact that Fox Talbot's father
died when he was only six months old, although his mother did remarry in 1804.
When he was eight he was sent away to a boarding school and made a strong impression
upon his headmaster.
In 1811 he went to Harrow School where he remained until he was 15. During this time at
school he had two major interests — chemistry and botany.
Fox Talbot's academic record at Harrow was excellent and when he left at the age of 15 he
had won eight school prizes. After two years of private tuition he went to Trinity College,
Cambridge, where he took the honours degree course in mathematics (or tripos, as it is
called).
FOX TALBOT'S RESEARCHES
At the turn of the century science in England was in the doldrums and it would be more than
a century before it was firmly established in the educational system. Fox Talbot's exposure to
science had been minimal during his education and he was only able to carry out research
because he was supported by the income from the Lacock estate.
During the 1830s Talbot was extremely active scientifically and prepared more papers for
publication than at any other time in his life. The most important areas of study were spectral
analysis, microscopy using polarized light, and crystallography. He was given a stimulus in
March 1831 by his election to the Fellowship of the Royal Society and he read two papers on
crystallography to the Society in 1836. One of these was declared Bakerian Lecture for the
year and carried with it a monetary prize. He developed contacts with the leading scientists
of his day, sometimes at social gatherings.
Talbot's most important research, neglecting photography for the moment, was in
mathematics — mostly concerned with the integral calculus on which he presented papers
to the Royal Society in 1834 and 1836. For those and his other contributions he was awarded
a Royal Medal by the Queen in 1838 — one of two medals awarded annually on recom-
mendations from the Royal Society.
These researches demonstrate the breadth of Fox Talbot's interests, but of course he is known
principally for his research into photography.
Daguerre's process captured the imagination of the public and became the first commercially
successful process. However it suffered from three inherent disadvantages which caused it to
be an evolutionary cul-de-sac. First, the mirror surface of the silvered plate made viewing
VIEWFINDER DECEMBER, 2016 11
difficult. Secondly, each picture was unique and could not easily be copied, and thirdly, the
pictures were laterally reversed.
At the same time that Daguerre was perfecting his process William Henry Fox Talbot was
conducting experiments in England which laid the foundations of the negative-positive
photographic process. The idea came to him on his delayed honeymoon in Italy in October
1833 when he was attempting to use a camera lucidato obtain sketches of Lake Como. He
found these attempts 'only left traces on the paper melancholy to behold' and recalled the
difficulties he had experienced with a camera obscura on earlier visits. He wrote in his diary
this led me to reflect on the inimitable beauty of the pictures of nature's painting which the
glass lens of the camera throws upon the paper in its focus — fairy pictures, creations of a
moment and destined as rapidly to fade away. It was during these thoughts that the idea
occurred to me — how charming it would be if it were possible to cause these natural images
to imprint themselves durably and remain fixed upon the paper'.
When he returned to England in 1834 he began to experiment by coating silver nitrate and
also silver chloride on paper with disappointing results. He then coated paper first with salt
and then with silver nitrate which resulted in the formation of silver chloride. He then made a
crucial observation which he recorded as follows: 'On some occasions, certain portions of the
paper were observed to blacken in the sunshine much more rapidly than the rest. These more
sensitive portions were generally situated near the edges or confines of the part that had
been washed over with a brush'.
He drew two conclusions from this observation. First that the border areas had absorbed a
smaller quantity of salt and for some reason were also more sensitive to light which led to the
production of more sensitive materials. Secondly, he realised that since areas which
absorbed larger quantities of salt were less sensitive to light salt might be used to fix (or more
correctly 'stabilize') the images which he obtained. He also used potassium iodide as a fixer
and probably changed to salt early in 1835.
In 1834, Fox Talbot began his experiments to find a suitable paper for his first photographs.
Fox Talbot used the new paper to obtain outlines of leaves which he called Photogenic
Drawings but even exposures of hours in a camera obscura recorded only the outlines of
buildings. He then found that extra speed could be obtained by repeating alternate coatings
of salt and silver nitrate and exposing the paper in a moist condition in the camera. The
cameras he used were quite large but he found that using small cameras perhaps two or
three inches long and lenses of a shorter focal length exposures could be reduced to between
ten minutes and half an hour in normal daylight. He placed a number of these small cameras
round the Abbey (which his wife Constance once referred to as 'mousetraps') in the summer
of 1835 and one of these was directed towards one of the oriels windows in the South
Gallery of the Abbey.
The resulting negative, which is now in the Science Museum in London, is the earliest
surviving negative. It is lilac in colour which indicates that it was probably fixed with salt. On
the negative Talbot wrote: 'Latticed Window (with the Camera Obscura) August 1835. When
first made, the squares of glass, about 200 in number could be counted with the aid of a lens.'
It is of some interest that this negative is some two years older than the oldest
Daguerreotype.
The idea of making positive prints from these negatives was recorded in a notebook entry in
February 1835 which reads, 'In the Photogenic or Sciagraphic process, if the paper is
transparent, the first drawing may serve as an object, to produce a second drawing, in which
the lights and shadows would be reversed.'
12 VIEWFINDER DECEMBER, 2016
Fox Talbot did send examples of his photogenic drawings to his wife's sister but it is probable
that he withheld information about the process from his scientific colleagues, even when
they visited Lacock Abbey. Perhaps he wished to improve the process before disclosing it
publicly but, be that as it may, he did no further work on the process until he was forced to by
Daguerre's announcement of his process which Fox Talbot heard about in the second or third
week of January 1839. The report was published in the 'Gazette de France' dated 6 January
and on the following day Arago, the secretary of the Academic des Sciences, made a formal
announcement to the Academic.
Fox Talbot's reaction to this announcement cannot have been made any easier by his
mother's letter part of which reads as follows: 'I shall be very glad if M. Daguerre's invention
is proved to be very different from yours. But as you have known it five years a quai bon
concealing it till you could possibly have a competitor? If you would only have made it known
one year ago, it could never have been disputed or doubted . . .'
Fox Talbot immediately set about publishing his invention. He arranged an exhibition of his
photogenic drawings at the Royal Institution in London on 25 January, he wrote in French to
Arago to announce his discovery officially, and he also prepared two papers for presentation
at the Royal Society. The first of these, presented on 31 January, was entitled 'Some Account
of the Art of Photogenic Drawing; Or The Process by which Natural Objects May be Made to
Delineate Themselves without the Aid of the Artist's Pencil'. Full details of the process were
provided in his second paper read on 21 February. He also published a 'note', read at the
Royal Society on 21 March which described the preparation of paper of increased sensitivity
using potassium bromide and silver nitrate solutions.
Fox Talbot wrote to Herschel about his process on 25 January and it was arranged that he
should visit Herschel on 1 February. Herschel's letter of 30 January suggested using
hyposulphite of soda which would "wash away all the chloride which had escaped the action
of light and leave the reduced silver black as before. Thus there is nothing further left for the
light to act on'. The discovery of fixation therefore should be attributed to Sir John Herschel.
However, for both Talbot and Herschel there were problems with the use of hypo probably
connected with insufficient washing after fixation and also the discovery that it reduces the
density of print-out images. It was therefore some time before hypo was adopted as a fixer.
Talbot recommended it in his patent of 1834.
Talbot wrote in December 1839, 'I am convinced that we are only on the threshold of what
may be done. Although the perfection of the French method of photography cannot be
surpassed in some respects, yet in others the English is decidedly superior. For instance in the
capability of multiplication of copies and therefore of publishing a work with photographic
plates'. This comment is significant because in 1844 he did publish 'The Pencil of Nature'
which had 24 photographic illustrations.
In 1839 and 1840 he continued his photographic research. He tested papers prepared with
ammonia and silver nitrate, the use of gelatine to increase speed and methods of making
negatives transparent for contact printing. This resulted in a great improvement in quality
and Talbot referred to some of his pictures as 'Rem-brantish'.
THE CALOTYPE
The most important improvement however occurred when Fox Talbot was experimenting
with gallic acid. Gallic acid is obtained from gall nuts which grow on certain types of oak and
is 3, 4, 5 -trihy-droxybenzoic acid. When it is heated, pyrogallic acid (iepyrogallol, the
photographic developer) is form ed.
Sir John Herschel and the Rev J B Reade had both experimented with gallic acid and this
prompted Fox Talbot to use it in conjunction with silver nitrate, ammonia and potash. We
VIEWFINDER DECEMBER, 2016 13
discovered in September 1840 that a solution of gallicacid, acetic acid and silver nitrate
would increase the sensitivity of bromide and iodine paper and that if the paper was exposed
when wet a 'latent picture' as he called it could be developed in the dark. On the following
day (24 September 1840) he found that if such a picture was not dark enough it could be
'brought out' using the solution. Finally, in October he found that when the sensitized paper
was used dry the latent image could still be developed using the solution of gallo-nitrate of
silver which had been used previously to sensitize the iodized paper.
The process was one of physical development and the acetic acid acted as a restrainer which
prevented the reduction of unexposed silver halide by gallic acid. This discovery not only
transformed the potential of his negative-positive photographic process but also laid the
foundations of today's photography. He called his new process Calotype (from the Greek:
Kalos — beautiful) also referred to as Talbotype'. Exposures were now between eight
seconds and five minutes in daylight and this made portraiture possible which is clearly
shown in his notebooks. One of his first portraits was of his wife, Constance, which is the
oldest surviving portrait on paper in the world.
Fox Talbot decided to take out a patent on his Calotype. This may have been put in his mind
by Daguerre's English patent but he was certainly encouraged by his friends David Brewster
and John Herschel. He wrote to Herschel in March 1841, "I have taken a patent for the
calotype but nevertheless intend that the use of it shall be entirely free to the scientific world .
. . There appears to me to be no end to the prospect of scientific research which photography
has opened out". The patent was dated 8 February 1841 and as in the case of photogenic
drawings he read a paper to the Royal Society which took place on 10 June and gave full
details based on his patent specification. The Royal Society recognised the importance of his
invention by presenting him with the Rumford Medal for 'many important discoveries made
in photography'.
Are we now in a position to answer the question 'Who invented photography?' Was it
Schulze, who discovered the action of light on silver salts, or Wedgwood, who produced the
first images on paper using silver halide? Was it Niepce, who produced the first permanent
image using a camera obscura, or was it Daguerre, with whom he cooperated and who later
produced the first commercial photographic process? Was it Fox Talbot, the 'Father of modern
photography', and inventor of the negative positive process, or Herschel, the inventor of
hypo as a fixer, Scott Archer, the inventor of the wet collodion process which allowed the use
of a transparent support, Maddox, who invented the dry plate process, or finally Eastman,
who brought photography to the civilised world?
To ask the question 'Who invented photography?' is rather like asking 'Who built Rome?'
Rome was not built in a day and photography did not emerge, fully developed from the work
of one man but was the culmination of many contributions. One answer to our question is
therefore to compile a portrait of the inventor of photography by building up a composite
photograph of those who contributed to its success.
Fax Talbot became very ill and died in his study on Monday, 17 September 1877.
The Dean of the Faculty of Law at Edinburgh University gave an address which summarizes
well what many feel today.
". . . it was Mr Talbot who first made known that method of photogenic opera-tion which,
however imperfect originally, has yet formed the basis of all that is valuable in the
subsequent development of the art. The photography of the present day — far still no doubt
from perfection yet productive of exquisitely beautiful results, and capable of application to
innumerable industrial and aesthetical purposes — owes its existence to him".
14 VIEWFINDER DECEMBER, 2016
Mail Box
Dear Anil ji,
I received the PDF copy of Viewfinder today and have finished reading it just now.
First of all thank you very much for the extensive coverage of the workshops at Vizag, and of
course my article on Figure Study. I am grateful to FIP for giving me this opportunity to be
associated with them and to share my interest with the delegates during the workshops .
Publication of the pictures in colour has added lot of value to them.
What an issue on portrait Photography, it is worth preserving by all Portrait photographers. The
editorial is excellent and is an article on Portraiture by itself. Mr. K. Prabhakar's article is an real
eye opener and a treat for portrait photographers. I had read it around two decades back but it is
worth reading again and again. The article still is as relevant now as it was then even if the
medium has changed. Thanks for printing it again particularly in this issue of VF.
Regards,
B.K. Agrawal, FIIPC, Visakhapatnam
Respected Sir,
I read and see the pictures are artistically shot. Very nice and take good efforts from your side till
publication of issue.
Wagh Kishor, Mumbai
Dear Mr. Singh,
I was fortunate to get a chance to go thru' Nov 2016 issue of Viewfinder. As usual, a superbly
designed and informative issue. I have a special place in my heart for FIP because of my long
relationship with it although I am not a member for quite some time now. During my college
years, may be 50-55 years ago, I was extremely fortunate to meet Dr. G. Thomas at his clinic.
Imagine my surprise when I returned to Mumbai after about 4-5 days, a letter from Dr. Thomas
thanking me for my visit was already waiting for me. Imagine a personality of his stature
thanking a college student - it simply stunned me and I was overwhelmed with respect for him.
In this issue I especially found the report on your workshop very informative and accompanying
images highly impressive. However, what impressed me most was a sentence 'Idea was to have
a workshop which should not make a big hole in your pocket'. This goes to show FIP team's
dedication towards its aim and goal of not treating photography as just a commercial
proposition.
Although my advanced age of 74 prevents me from undertaking long journeys, I have a strong
urge to attend at least one of your future workshops. God willing, I may achieve it.
With warm regards and wishing you all the very best in your noble endeavour.
Kishore B. Jothady, Mumbai
Dear Sir,
Just got the recent issue of Viewfinder by mail today. In your able hands viewfinder is being
groomed day by day and I must say that you are leaving no stones untouched in your effort. The
Nov issue looks dedicated to Portrait photography. The article written by Sri Prabhakar Kusuma
on 'Portraiture' and on figure study by Sri B.K. Agarwal are excellent. Sri Agarwal is master of
Portrait, Glamour and figure study.
Very few photographers are good teachers also and Sri Agarwal is one of them. I have
opportunity to organize two workshops with him and I am really impressed with his organizing
ability, no minute is wasted in his workshop. I remember an incident while I was taking a
Photoshop session on Portrait retouching with him. In the lunch I came to know that his son had
a serious car accident in night and they spent whole night in hospital, even after this Sri Agarwal
VIEWFINDER DECEMBER, 2016 15
started his workshop well in time and was as fresh as ever and did not made any excuse to any
one and many delegates were amazed when they came to know about the incident and
wondering how he managed to conduct the workshop after this.
Regards,
Rajendra Prasad, Muzafarnagar
Dear Sir,
Article “Figure Study in India” written by Mr. B. K. Agarwal is very informative and explains all
aspects, right from the concept of Figure Study, Law on Nude Photography, Difficulties in finding
a model, Technical Know-how, Posing and Choice of Equipment.
Exactly like his workshops, which are also always very informative where participants get to
learn much more than they can even imagine.
He is a great photographer, a good human being and an excellent teacher. Salute to him!!
Tripti Roy, Goa
Dear Anil ji,
November issue of Viewfinder is wonderful, with lot of beautiful colour photographs and
excellent material to read upon. I felt happy to see my article "Portrait Photography" in Nov 2016
Viewfinder with beautiful lay out and decorated with the letter from FIAP President and my
photograph. I am grateful to you sir. I have no words to express it. Mr. B.K. Agrawal's article on
'Nude Photography' is excellent, a real eye opener. With best wishes.
Prabhakar Kusma, Hyderabad
Dear Sir,
My heartiest congratulations to the Viewfinder team for completing 72 long years and for
playing an important role in promoting photography in India, sustaining its creative
commitment to photography for 72 years is no mean task, kudos to dedicated team and its
inspirational Editor in bringing out high quality magazine, which is a must read out for all
photography enthusiasts. May the grace of God with you.
Manhar M. Shah, Bochasan, Gujrat

OBITUARY
It is very sad and shocking that former President of
Federation of Indian Photography and great master of
Photography Padmshree Waman Thakre left for his
Heavenly Abode on 6th December, 2016, at around
11.00 A.M., he was 84.
He was former deputy director at the Directorate of
Panchayat and Social Service of the Government of
Madhya Pradesh.
Its a great loss to the Indian Photography, he was a
great Photo Artist and a source of inspiration. Born on
April 24th, 1932 in Ramtek, Nagpur district, Thakre did
his early education from Ramtek and Nagpur and later
graduated in commercial art and photography from the
Chitrakala Mahavidyalaya, Nagpur and J J School of
Art, Mumbai, bagging top honours.
Federation of Indian Photography offers tribute to
departed soul and heartfelt condolences, may the Almighty give peace to the departed soul
and strength to his family members to bear this great loss.
16 VIEWFINDER DECEMBER, 2016
Club News
PHOTOGRAPHIC ASSOCIATION OF DUM DUM
467/40, Jessore Road, Kolkata-700 074, INDIA
DIAMOND JUBILEE CELEBRATION
Eleventh International Conference on Photography
at
Birla Industrial & Technological Museum
19 A, Gurusaday Road, Kolkata 700019
23rd — 27th January 2017
INVITAION :
Photographic Association of Dum Dum cordially invites all the Photographers,
Scientists, Technologists and Educationists working in the field of photography
anywhere in the world to participate in the 11th International Photographic
Conference. We are confident that the conference will be a treat for all.
DATE AND VENUE:
The Eleventh International Conference on Photography sponsored by the
Photographic Association of Dum Dum in collaboration with the Birla Industrial &
Technological Museum, National Council of Science Museums, Ministry of Culture,
Govt. of India, will be held at BITM Auditorium, 19 A, Gurusaday Road, Kolkata -
700019 during 23rd-27th January, 2017.
PROGRAMME :
The Conference will include Seminar, Workshop, Photo fair and Exhibition. The
seminar will include reading of papers, invited lectures and discussions on various
aspects of photography broadly in six groups viz. Digital, Scientific & Technical,
Pictorial, Educational, Cinematography, Press and General. Detailed programme
with timing will be distributed to the delegates at the venue on the eve of the
conference.
WORKSHOP :
Prior to the conference A workshop will be arranged for limited 20 Indian
delegates to be conducted by experts on Digital, Portrait & Creative Photography
during 21-23rd January, 2017. Fees is only rupees Two thousand (2000/-) inclusive
of conference fee of one thousand (1000/-).
DELEGATESHIP :
Delegate fee of Us $ 50 / £ 35 /Euro…../ INR 1000/- etc. . Last date for delegate
ship is 10th January 2017.
PRESENTATION OF PAPER :
Those who intend to read papers in the conference are requested to send two
copies of their papers neatly typed with double space, A-4 size paper together
with an abstract of the same before 31st December 2016. Paper may be sent in
CD/DVD in Msword or by E-mail.
For more details contact Prof. BiswatoshSengupta,
mail: biswatoshs@gmail.com,
Ph (033) 2560 2443; mob 9830874135
ATTENTION to the Prospective MFIAP Candidates
Mr.IoannisLykouris MFIAP, HonEFIAP,Secretary General of FIAP will attend the 11th
International Photographic Conference organised by Photographic Association of
Dum Dum during 23-27th January 2017 at BITM Kolkata and will talk on "MFIAP
Distinction, its conditions and specificities”.
VIEWFINDER DECEMBER, 2016 17
FIP Distictions
Dr. B.K. Sinha, Hony Secretary General
MFIP Nupur Kumar Roy
Hon FIP Mr S R Mondal and Mr Anup Paul
AFIP
NAKKA SURESH BABU, UDDANDRAO SESHAGIRI BABU, NEETU KATYAL,
SOUNAK BANERJEE, ARUN KHANNA, SOUNAK BANERJEE.
FFIP
SWAPAN DAS, SANJAOY SEN GUPTA, DR. AMIT BIJON DUTTA
SATYAJIT MAJUMDER, KUNTAL PAUL, AKUNDY KRISHNA MOHAN
PARESH HARISH CHANDRA PARADKAR, MRINAL BASU,
SUNANDA NGHOSH.
FIP congratulates all of the honoured persons.
FIP also announces that Mr R.B. Pednekar is free to participate in salons
in any capacity and Mr Chitrangad Kumar is also free to organise
salons/circuits.
New rulings regarding salon recognition.
FIP wishes to encourage national salons hence salon recognition fee
for the nationals is reduced to Rs 500/-. In future (from the year 2017)
it will be necessary to have 30% of your acceptances from nationals for
AFIP and FFIP
the recognition fee for international salons will be Rs 3500/- and if a
club organises 2nd or 3rd salon in the same calendar year the
recognition fee will be Rs 5000/-. For Circuits of 3 salons the fee will be
Rs 9000/- only.
Medal fee will be revised shortly once we get new, better medals.
More changes in our distinctions are planned and detail will be
published in the next VF
ELECTION RESULTS
President : Mr Susanta Banaerjee
Vice president : Amitabha Sil
Hon General Secretary : Dr B.K.Sinha
Woking committee : Ms Tripti Roy, Adit Agarwal, Akhil Hardia
Santosh Kumar Jana, Abhijit Dey

18 VIEWFINDER DECEMBER, 2016


SALONS
ECPA Diamond Jubilee International Digital Salon Everest International Salon Digital
2016/FIP/61/2016 M,C,N & PT Closes 24.12.16 2016/FIP/70/2017 M, C, N & PJ Closes 02.02.17
Amiya Krishna Banerjee-9831470235, 9830893363 Theme City Life
ecpakol@gmail.com; www.ecpaphotos.com Manoranjan Barman– 9903059178
3rd Creative International Salon 2016, Belghoria fotoclubsiliguri@gmail.com; www.everest.org.in
2016/FIP/64/2016 Closes 31.12.16 Foto Art Super Circuit
Print MP, CP Digital M & C Bishunpur PC/GreenZone/Shutterspeed
Sumit Mukherjee– 08444072223 2016/FIP/71-72-73/2017 Closes 20.02.17
belghoriaphotolovers@gmail.com; www.bplclub.in M,C,N,PT & PJ
Miracle Image 3rd International Digital Salon 2017 Biplab Hazra– 9434160348
2016/FIP/37/2017 M,C,N,PJ & PT Closes 01.01.17 sforoart@yahoo.in; www.fasc.in
Mohan Pandit– 09831172922 Digifremz International Salon 2017 Digital
Photographypathshala99@gmail.com 2016/FIP/80/2016 M, C, N & PT Closes 21.02.17
www.photographypathshala.in Malabika Chatterjee– 9051288443, 9051555618
Galaxy 2nd International Digital Salon 2017 digifremz@gmail.com; www.psaindiasalon.com
2016/FIP/48/2017 M,C & N Closes 02.01.17 2nd Creative Art International Digital Salon 2017
Ms Upasana Sen– 9883881693 2016/FIP/79/2017 M, C, N & PT Closes 06.03.17
Galaxyartfoundation@gmail.com; Chinmoy Dutta– 9831159522
www.galaxyartfoundation.in saloncreativeart@gmail.com
10th NBPC (2nd International) Digital Salon 2016 www.creativeartsalon.org
2016/FIP/65/2017 M,C,N & PT Closes 03.01.17 VZ Super Circuit 2017
Amitava Das M, C, N and PT Closes 11.03.17
admin@nbpcraiganj.org; www.nbpcraiganj.org Beauty Pandit– 9051555618, 9433336192
5th KCA National Digital Salon 2017 Visionzero.info@gmail.com; www.visionzero.in
FIP Reg. No. 2016/76/2017 M,C,N & PTCloses 05.01.17 Photoquest
S. Banerjee– 9831556422, 9883076455 2016/FIP/86/2017 M,C, N & PT Closes 12.03.17
drshankarchatterjee@gmail.com Anupam Banerjee– 9732056778
EMPA International Digital Salon 2017 Anupambanerjee1985@gmail.com;www.lenscript.in
2016?FIP/67/2017 M,C,N,PT & PJ Closes 08.01.17 3rd KPA International Salon 2017
Santosh K Jana– 9733707550, 9434243636 2016/FIP/85/2017 M, C, N & PT Closes 13.03.17
Empa49@yahoo.in; www.empa.in T.K. Mahapatra– 9732636256
Love for Art International Digital Salon kpaclub@yahoo.com; www.kpaclub.com
2016/FIP/62/2017 M, C, N & PT Closes 08.01.17 HAP International Digital Salon
Ms Haimashree Mukherjee– 9836937116 2016/FIP/76/2017 Closes 27.03.17
salonloveforart@gmail.com; www.loveforart.in M, C, N, PJ & PT
2nd KUPA International Digital Salon 2017 SC Mallick– 8697813958, 9433812930
2016/FIP/56/2017 M,C,N & PT Closes 10.01.17 Hapsalon17@gmail.com; www.hapsalon.com
Tapas Bhowmick– 9830094930, 9477114736 2nd Tapa International Salon – Chandigarh
kupasalon@gmail.com; www.kupa.co.in 2016/FIP/84/2017
PHA International Photo Contest 2017 M, C, N PJ & PT, Theme Creative Closes 31.03.17
2016/FIP/44/2017 M,C,N & PT Closes 11.01.17 Vinod Chauhan– 9872989918, 9814435883
Asim Sarkar– 9433110247 tpassalon@gmail.com; www.tpas.co.in
mailforpha@gmail.com; www.photohunters.in
Indian Photofest International Salon 2017
Click 2nd International Digital Salon 2017
2016/FIP/88/2017 M,C,N,PJ & PT Closes 10.04.17
2016/FIP/41/2017 M,C,N & PT Closes 15.01.17
Saurav Kanti Sahoo– 9933700175, 9734456704
Utpal Adhikary– 9874923225
Photofestclub.yahoo.in; www.photofest.in
Sbartsalon2015@gmail.com; www.shutterbugartsociety.in
FOCUS International 2016/FIP/74/2017 1st Aranyak Cooch Behar International Digital Salon 2017
M, C, N and PT Closes 16.01.17 2016/FIP/78/2017 M, C, N & PT Closes 15.04.17
Abir Das– 9748154214, 7890222306 Shantanu Saha– 9434197877
Focusindia.salon@gmail.com; www.focusfoto.in 6th JPS International Salon 2017
49th Howrah Colour Salon 2017 2016/FIP/96/2017 M, C, N & PT Closes 17.04.17
2016/FIP/01/2017 SOP, Howrah Mnish Vyas– 9784500270, 9829212909
C, N, PT & Creative Closes 17.01.17 jpsjodh@gmail.com; www.jpsjodhpur.com
SagarVishwakarma– 7685032554 3rd Jodhpur International Circuit 2017
sophowrah@gmail.com; www.sophowrah.net 2016/FIP/97-98-99/2017 M,C,N & PT Closes 24.04.17
Digifocus International Digital Salon 2017 Amit Vyas– 7665535327, 9829212909
2016/FIP/68/2017 M,C,N,PT & PJ Closes 30.01.17 Amitvyas010@gmail.com
Abhijit Dey– 9433812930, 8902048188 jpsjodh@gmail.com; www.jpsjodhpur.com
dayabhij@gmail.com; www.digifocus.org Society for Apearture of Howrah
Fotofest 2017 Digital 2016/FIP/57/2017 M, C, N & PT-Digital Closes 30.04.17
2016/FIP/69/2017 M,C,N & PT Closes 30.01.17 Sujoy Debnath– 9830111108, 9433341102
Karam Chandra Tapadar— 08013688518 secratary@sonarbangla.org.in; www.sonarbangla.org.in
salonphotopart@gmail.com; www.pfsalon.com 4th Raiganj International Salon
1st Rainbow International Circuit 2016/FIP/100/2017 Closes 30.04.17
2016/FIP/58-59-60/2017 Closes 02.02.17 Debbrata Sarekar– 9932344204, 9434130774
M, C, N & PT debuskr@gmail.com; www.parclub.org
Photography Pathsala/Persona International/ BAWS Internationl Salon 2017
Galaxy Art International 2016/FIP/102/2017 Closes 28.05.17
Mohan Pandit– 9831172922 Digital M, C, N, PJ & PT; Print Mono and Colour
photographypathshala99@gmail.com; Anupam Sasmal– 9153027750, 9800988233
www.rainbowcircuit.org pfmsalon@yahoo.im; www.pfmclub.com

VIEWFINDER DECEMBER, 2016 19


Federation of Indian Photography
9/A, Arya Kumar Road, Rajendra Nagar
Patna-800 016, Bihar, INDIA
09835021092 / www.fip.org.in PHOTO
MEMBERSHIP NO.

Mr. Mrs. Miss

Photographic honours

Occupation Date of Birth

Address

Pin Phone

E-mail
Introduced
by
Fee Sent only by DD Rs.

No. Dated

Date Signature
FIP SUBSCRIPTIONS
Individual member (Annual) 600.00
Corporate member (for Camera Clubs) (Yearly) 1,100.00
Life Member (Single Instalment) 5,100.00
Spouse membership New Category (H+W) 750.00
Life Time Photographers Card - will be valid 2,500.00
indefinitely (Not for Life Members)

Salon Recognition Fee - National 700.00


International 2,000.00
Each Judging of a circuit is one Salon
VF insertion - Single Page 2,500.00
Mandatory FIP Medal for each section of Salon 350.00

DD or Multicity Cheque should be drawn in favour of


Federation of Indian Photography, payable at Kolkata
2 stamp size photo

20 VIEWFINDER DECEMBER, 2016


Rien ne change MARCEL BEAURAIND, Belgium
FIAP Gold, FIP Bronze

An unforgatable trip HOIYAN FONG, Hong Kong


FIAP Gold

Pristine BHASKAR PRABHAKAR ADHWALE, India


CM
PARENTAL CARE 2 RUPAK DE, India
FIP Gold, FIP Silver

Edited and Published by Anil Risal Singh, P35/A, Motijheel Avenue, Kolkata-74
Printed by : The Screen House

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