Exercise 2.03 Standing back

For this exercise I’ll be using the Nikkor 18 – 200 mm, 1:3.5 – 5.6 VR lens on the Nikon D300s. The Vibration Reduction facility allows its use without a tripod for shutter speeds down to around 1/20 sec, so it’s ideal for this application.

There’s an open air café in the market place, with the tables tucked behind the market stalls. I captured this image of a debate from about 15 metres, but no one else was aware, so I was quite comfortable with it.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/11, 1/500 sec.

It’s unfortunate that the stall holder had carved skull and crossbones among his wares which I had difficulty framing around, but the gesticulation of the man on the left and the expression on the other man’s face were easy to capture without any intrusion from me, so this type of photography definitely has its advantages.

 

ISO 200, 150 mm (225 mm equivalent 35 mm), f/8, 1/200 sec.

Here’s an example of using selective focus, keeping the subject in focus while his surroundings become blurred. The use of the long telephoto at a relatively wide aperture gives this effect.

 

ISO 200, 105 mm (157 mm equivalent 35 mm), f/22, 1/20 sec.

This image of street musicians was taken at a much smaller aperture in an attempt to bring more of the surroundings into focus (particularly the second musician). Obviously the characteristics of the longer lens don’t allow a greater depth of field.

It’s interesting to note how the distance is compressed using telephoto lenses. It makes the scene look very crowded whereas the reality left reasonable space between the players and the crowd.

 

ISO 200, 112 mm (168 mm equivalent 35 mm), f/5.6, 1/400 sec.

This image of a balloon seller during the Whitby Regatta works because he hasn’t noticed the photographer – the main advantage of using a telephoto lens. The balloons are out of focus not only because of the depth of field, but also due to movement in the breeze.

 

ISO 200, 70 mm (105 mm equivalent 35 mm), f/5.6, 1/1600 sec.

Taken while waiting for the arrival of the Red Arrows for the Regatta display, this man was obviously posing as Captain Cook (though I don’t suppose Cook would have approved of the tee shirt). I couldn’t resist the juxtaposition in this image and adjusted the lens to frame him against the statue. The difference in focus of the two elements adds to the juxtaposition. It was just a grab shot, so I was quite pleased with it – almost better than seeing the Red Arrows!

 

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/500 sec.

Avoid the local curry house!

Getting close up images from a safe distance is what telephoto lenses are all about. The Regatta weekend also signals the start of Folk festival, so the Pyrotechnic Pensioner was another attraction for the followers of both events.

The subject is in good focus compared to his surroundings, so the telephoto again works well for this separation.

 

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/800 sec.

I wanted to keep the foremost clog dancer in focus while allowing her two companions to become more blurred with their distance, so I kept the aperture at its widest for this zoom setting. ‘Strictly Clog’ were clog dancing in its traditional form, so their upper torsos were virtually stationary while their feet moved at speed. I’m pleased with the composition of this image.

 

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/1250 sec.

Before each dance set, the Martha Rhodens Tuppenny Dish Morris dancers have a ‘toolbox talk’ where safety issues and the planned dances are discussed. This image was taken during one of these talks and shows an example of how the cloth is to be held for the next dance.

This image wouldn’t have been possible with a standard or wide angle lens without being within the group itself. Using the telephoto lens has enabled this personal detailed image of a major part of the Folk Festival.

 

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/800 sec.

The Shropshire Bedlam Morris dancers are fast moving, garish and loud. There is so much going on at their performances that only very fast shutter speeds can be used to capture any detail. Panning is required and continuous focusing used to keep a sharp image of the subject. To get a close up image like this a fairly long telephoto is the only way ahead. Look how much enjoyment there is in the performance of the dance. This is what the Folk Festival is all about for me.

 

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/500 sec.

This uses a slightly slower shutter speed to show the loss of sharpness as the dancer whirls past. The emotions evident during the dance show in the expressions of the dancers’ faces - Sometimes aggressive, sometimes embracing, but always just right for the dance.

 

ISO 400, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/400 sec.

During the same week the local agricultural shows are taking place. This image was taken at the Egton Show, in the ‘produce and handicraft’ tent. The ISO was increased, to allow higher shutter speeds. Using the shallow depth of field of the lens and a wide aperture I used selective focusing to keep this gentleman in focus while the crooks and sticks in the foreground were blurred to give him a sense of place.

 

This exercise has been really enjoyable for me and I’ve gained yet more confidence in photographing people – I sometimes think that I really don’t exist in other people’s worlds.

Using a telephoto lens has pros and cons.

Positive points are:

· A reasonable distance can be kept from the subject, so that they aren’t crowded and in many cases they don’t realise their image is being captured.

· Interaction between the photographer and the subject isn’t always necessary, so the photographer can concentrate on the job in hand.

· Detailed images can be captured without being too close to the subject.

· Selective focus can work well on portraits, giving a sense of place while keeping only the subject in focus.

· The long lens does not cause any distortion of features.

· Distances can be compressed to good effect.

Negative points are:

· The greater distance between photographer and subject means that other people may walk between them.

· The longer lens is more affected by camera shake – not so much of an issue when image stabilization or vibration reduction lenses are used, but otherwise a tripod is necessary (not always a practical option), or the ISO must be increased.

· The shallow depth of field may be an issue if the surroundings are required to be kept in sharp focus.

 

I find the longer lens settings easier to work with when photographing people, but sometimes it borders on voyeurism when watching people who don’t realise they’re being watched. It’s getting easier but it still sometimes feels wrong to me. At least I don’t need to get into their personal space!

Project : Medium telephoto

As can be seen in the majority of the images I’ve taken in this part I find it easiest to use a telephoto lens for this type of photography.

My main reason for this is that close contact with the subject is unnecessary. I can be ignored by the subject and still get close-up images.

In the ‘daily life’ section of Michael Freeman’s, ‘Photographing People’, there are sub-sections on ‘medium telephoto’ and ‘long lenses’ which extol the use of these lenses, not only because of the remoteness of the photographer, but also for their relatively short depth of field which allows the separation of the subject from his / her surroundings. There are problems associated with the use of these lenses, but I’ll cover these in the next exercise.

Exercise 2.02 – Capturing the moment

Finding opportunities as seen on Nick Turpin’s documentary isn’t so easy round here – as we saw in the previous exercise, life is very slow here for the most part. So I’m working on this exercise in several parts.
The first part is taken on the beach and harbour:

Nikon D200, Sigma 170 – 500 mm 1: 5 – 6.3 lens
ISO 100, 270 mm (405 mm equivalent 35 mm), f/ 7.1, 1/350 sec.
I used the D200 with the long lens on a tripod (This lens stays on the D200 for my own convenience – it saves changing bulky lenses in the field), to get close-up images from the esplanade. I used high speed continuous shooting mode to capture the best image from a selection of 8 shots while he swung the bat. I felt this one was ‘the moment’ as it shows the ball just after it’s been struck while the batsman follows it’s travel with some trepidation - and the high ball was an easy catch for his grandson! – Sorry Grandad.

Nikon D200, Sigma 170 – 500 mm 1: 5 – 6.3 lens
ISO 100, 500 mm (750 mm equivalent 35 mm), f/ 7.1, 1/500 sec.
This image should be viewed with the following one – they were taken with high speed continuous shooting mode and shows the capture of ‘the moment’ when the larger child leaves the ground. I think it’s funny to see that the younger one is pulling up her trouser leg to try and keep it dry!

Nikon D200, Sigma 170 – 500 mm 1: 5 – 6.3 lens
ISO 100, 500 mm (750 mm equivalent 35 mm), f/ 7.1, 1/400 sec.
A fraction of a second after the previous image catches him airborne and her catching the wave. This so catches the moment. The girl is laughing, the water is splashing and although we can’t see the boy’s face you can feel the joy – this is what the beach is all about for me.
The rest of this set uses the Nikon D300s in Aperture priority and continuous high speed shooting, with the Nikkor 18 – 200 mm VR lens (set in ‘active VR’ mode).

ISO 200, 200 mm (300 mm equivalent 35 mm), f/7.1, 1/640 sec.
I took this image in an attempt to show the action with both feet clear of the ground as he ran. His shadow and the reflection of his front foot add to the illusion of this moment of flight. The moment captured here is the instant when he has no contact with the ground.

ISO 200, 55 mm (82 mm equivalent 35 mm), f/8, 1/250 sec.
Back in the harbour and here’s the moment when the brave man of the family transfers a huge (not very) dog crab into the bucket. The children seem to emotions ranging from mild interest to horror of touching the beast – whatever the emotion it’s only brave father who could handle it!

ISO 200, 170 mm (255 mm equivalent 35 mm), f/8, 1/250 sec.
At the railway station we see the moment of arrival as this lady steps onto the platform. Looking further into the image, her partner is watching her carefully; so is the station porter; another passenger is opening his door while one passenger looks on from the carriage. What seems at first to be a simple record of her arrival has more going on than is initially seen – so the picture tells a story.

ISO 200, 42 mm (63 mm equivalent 35 mm), f/8, 1/60 sec.
There are two moments captured here:
· The one when the child leaves the platform for a surprise visit to the footplate.
· The care and help given by Grandad to help him up the steps.
Also notice big sister looking on in the background – is that a look of jealousy? Even the engine’s number has a place in this record – this could be researched for more details about this special event.
So there’s lots going on in this image too – A story and a possible promise of things to come.

ISO 200, 18 mm (27 mm equivalent 35 mm), f/3.5, 1/80 sec.
The next step in the story sees the fireman stoking the boiler in the cabin. Obviously the moment is that of the coal leaving the shovel in the furnace. The limited space in the cabin dictated the use of a wide angle on the lens – it’s caused some distortion of the fireman’s physique, but not enough to detract from the moment.

ISO 200, 80 mm (120 mm equivalent 35 mm), f/8, 1/160 sec.
The driver signals to the guard that he’s ready to leave. We can’t see anyone’s face in this image, but the story is still being told. It catches the moment of the signal that the train will soon be moving. There are small details to be seen too: The passenger watching the guard and the fireman cleaning his specs.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/7.1, 1/320 sec.
Again, there’s no face to be seen, but the moment of the farewell wave is caught. The child waves from the door window of the Pullman coach, with its identifying number for further research, distinctive wood and livery. The moment is caught with lots to find in the story.

ISO 200, 135 mm (202 mm equivalent 35 mm), f/5.6, 1/1000 sec.
Back on the Staith, the pyrotechnic pensioner entertains as part of the folk festival programme. Catching the moment when the cloud of kerosene ignites has also caught the expression of concentration on his face. The heat distortion and droplets of fluid help to tell the story of this image.

ISO 200, 105 mm (157 mm equivalent 35 mm), f/11, 1/50 sec.
The directness of the gaze on this Morris dancer’s face is caught in a moment of discourse before a dance commences. The blacking of his face is washing off with his sweat, due to his exertion during the dances on a very hot afternoon. The highlights in his eyes stand out from the blackened face. His headdress is so much a part of his persona. He’s surrounded by other folk dancers, giving the image of this very personal moment a sense of place. I think this is the best image of the set.

ISO 200, 150 mm (225 mm equivalent 35 mm), f/5.6, 1/400 sec.
The blacking of the face of this molly dancer makes her smile seem so large on her face. The image shows a moment of total enjoyment as she is embraced in the dance. This is the kind of moment which I really like – not so much the freezing of a part of the action, but more one of catching a feeling of what the festival is all about.

ISO 200, 50 mm (75 mm equivalent 35 mm), f/4.8, 1/2500 sec.
A part of the dance by Martha Rhodens Tuppenny Dish is caught when this team of morris dancers is all airborne. The lightness of step and enjoyment on their faces is also shown here. Couple this with the inclusion of the players behind and there’s a sense of time and place for this moment of entertainment.
I’ve really enjoyed this exercise. I think the catching of the moment is so important to this kind of photography and my invisibility has helped me get right into the action to capture the images.

Project : The moment

Capturing the right time, when events and elements in the frame come together and make a photograph tell a story or become ‘special’ can involve anticipation of what will happen, and possibly waiting in readiness, or it could just be a matter of being in the right place at the right time.

In Roswell Angier’s book ‘Train your gaze’ there are lots of instances which capture ‘the moment’. Obviously Henri Cartier-Bresson’s ‘Behind the Gare St. Lazare’, 1932 features here, but also many images which capture that moment in time (Huynh “Nick” Ut’s ‘Napalm Attack, June 8’, 1972) or illustrate emotion in the subject (Dorothea Lange’s ‘Migrant Mother,Nippomo, California’, 1936). A quote from Walter Evans in this book gives the advice: “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long”. I think this is essential in catching that moment, but it needs to be done discretely and sensitively, to avoid offense or confrontation.

The ‘In-sight’ documentary, available from http://www.sevensevennine.com/ gives an overview of how some dedicated street photographers may wait on a corner and watch for events as they happen, and always have their camera, just in case. It’s interesting to see them following potential subjects and taking images as they go, without any concern about what the subjects may think of the activity – During the previous exercise I found that the majority of people have no interest in the photographer’s activities, but the degree to which they were doing it seems almost invasive (if they were noticed). The site also has a good section of ‘The Best Street Photography Ever’ which shows seven pages of excellent photographs from relatively unknown to famous photographers – well worth a look.

‘Street Photography Now’ by Sophie Haworth and Stephen McLaren, complement the documentary, having the photographers and images they talked about included in the book.

Having looked at the documentary and the book, it’s clear that I need to change the way I take some of the images for this part of the course. It’s also clear that I’ll have to make the most of events around here – it’s quite a sleepy hollow most of the time, so I’ll have to work on it!

The moment may be an instant of elation, or recognition, or tenderness. It may freeze a point in time (like the Henri Cartier-Bresson mentioned above). It may be a documentary image which tells the viewer a story. There are many instances when this moment can be found - Catching it is the essential part of an image which makes it stand apart from others. It gives life and a story to the picture.

Exercise 2.01 – Developing your confidence

I decided to use a sunny day in the school holidays to capture images of tourists in the old part of Whitby. These streets are packed with day trippers when the weather is right.

I used one camera (Nikon D300s) and one lens (Nikkor 18 – 200 mm VR) – travelling light to allow me to merge into the crowd more easily. Because it was a bright day, the camera was set for ISO-200, 3D matrix metering, to obtain the optimum balanced exposure for each image. I used dynamic area auto focus, so that I could use continuous focus on moving objects and keep the object tracked by the focusing. The shutter mode was set to High Speed continuous shooting, to allow a better range of images. The shooting mode was aperture priority. The lens was set to VR in ‘active’ mode for allow more rapid camera movement.

I had a spare battery and lens cloths in my pocket, but no other camera equipment, so no intimidating camera bag or tripod to put people on edge. Wearing only trousers and tee shirt I felt that I merged into the crowds pretty well.

Initially I took images on the Abbey steps, knowing that most people climb the steps as part of their visit. I felt quite uneasy about photographing strangers without their permission. The images weren’t varied enough for me – they were either grimacing on the upward journey, due to the exertion, or scowling on the way back down as they negotiated the uneven steps. Gradually I realised that no one had any interest in me taking photographs – they were only bothered about themselves – so that allowed me to just fire away knowing that they weren’t taking offence. With that in mind, I moved to the shopping streets.

I enjoy people watching and the best way to do this is by sitting apart from a busy place. I decided to keep in one place and let the people come to me. So leaning on a wall on Sandgate I was able to watch for potential subjects as they walked towards me. I selected continuous focus, so that having selected my subject I could keep them in frame and have them in focus as they moved. I found this to be an easy way to merge into the scene and no one gave me a second glance. I was becoming more comfortable with the job in hand.

It was evident that most of the people appeared to be bored with their surroundings and had glum, resigned faces – not the kind of expression I was looking for, but I decided to make the best of what I had to work with – it could prove interesting.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/6.3, 1/160 sec.

This lady wasn’t dressed or groomed like the usual tourist – she looked more alert and dressed to impress – and she was smiling! This made her stand out from the crowd. I got the impression she was going to smile and be positive in spite of the glumness surrounding her. She kept her eyes down and her smile set as she walked with purpose carrying what appears to be her lunch – maybe she’s thinking about the fish and chips in her hand!

ISO 200, 200 mm (300 mm equivalent 35 mm), f/9, 1/320 sec.

Here’s the well-dressed tourist – loud shirt, gold chain, obviously a fish and chip connoisseur and he’s caught too much sun. His presence and attire shout “look at me – I’m doing it right and I’m on holiday” but his face is sneering, so it would appear that he’s not as jovial and happy as he would have us think!

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/125 sec.

Another bright shirt with a shiny hat, but does he look as though he’s enjoying his day at the seaside? I think not. Still, at least I’m getting more comfortable with photographing people.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/6.3, 1/160 sec.

Another well-groomed lady, but she’s not happy. The look is more one of concern rather than the disdain and boredom shown in the previous images. I almost felt sorry for this lady. There’s something troubling her which seems to separate her from the surroundings. The lighting on this image is better than most of the others.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/5.6, 1/125 sec.

Back to the boredom again – dressed for the occasion but she hasn’t found anything to smile about. I wonder why so many people come to Whitby, when they would obviously be somewhere else!

Having seen the gloomy faces in the old part of the town, I thought I’d cross the bridge to look for some interest on the West side.

ISO 200, 170 mm (255 mm equivalent 35 mm), f/10, 1/400 sec.

At the end of the bridge in the sunshine I found this body painter concentrating on her work. I used a smaller aperture here, to keep the child’s arm and the painter in focus. At least I found another person who wasn’t glum – 2 up! I’d have preferred a softer light for this image and the plant leaf is annoying (I could remove it in Photoshop, but that’s not the object of this exercise), but I just had to grab the shot as it happened.

At the bandstand I settled onto an empty seat and again waited to see what transpired.

ISO 200, 170 mm (255 mm equivalent 35 mm), f/11, 1/150 sec.

Fish and chips are what many people consider to be the essential part of a visit to Whitby – and you can never get enough, even when you’ve finished your own! You can almost see the watering in this lady’s mouth as she helps her husband with his portion. Let’s hope it doesn’t spoil her fingernails! I think the harder sunlight suits the subject’s expression!

ISO 200, 200 mm (300 mm equivalent 35 mm), f/11, 1/500 sec.

The bright sunlight works well on this trader’s portrait too. Maybe she’s watching for someone to buy her beach toys, or maybe she’s weighing up the buying potential of the tourists as they walk towards the beach. Whatever it is, she’s concentrating on someone and just watching and waiting.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/6.3, 1/160 sec.

The driver of the steam bus has an expression which shows he’s resigned himself to another day of driving the same short route all day for another day – same as yesterday and same as tomorrow. Everyone knows that it’s a dirty job, but someone’s got to do it! Poor old victim!

I think it’s a practiced look – he was posing for a photograph by one of his passengers – but I think it works better from my angle.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/10, 1/400 sec.

But let’s not forget that Fish and chips are the main attraction! We’ve moved on from the old newspaper wrappers and now there are plastic forks, but it’s the essential of the visit for the majority of tourists (and it shows!).

Moving back to the harbour-side I found a group of local teenagers watching the activity in the water.

ISO 200, 90 mm (135 mm equivalent 35 mm), f/8, 1/320 sec.

I’ve reduced the length of the zoom here, so I’m closer to the group. There’s something going on that’s holding their attention, so no interest in what I’m doing. It gets easier.

Also in the harbour the tourists are catching dog crabs:

ISO 200, 90 mm (135 mm equivalent 35 mm), f/8, 1/320 sec.

As with the previous image, these subjects are so engrossed with their own activity that I’m not considered as I take their picture.

A whistle signifies that there’s a steam train arriving at the station, so I decided to try my new found freedom on the platform:

ISO 200, 105 mm (157 mm equivalent 35 mm), f/8, 1/320 sec.

They’re just disembarking. No problem here either – At worst I’m an obstacle in their path, but no problems about having their photograph taken. I can just get on with the job in hand and use the camera zoom to get the image, rather than keeping my distance with a longer lens setting.

ISO 200, 200 mm (300 mm equivalent 35 mm), f/8, 1/250 sec.

She doesn’t look happy, but it was nothing to do with having her photograph taken – just fed up waiting to get on the train (which she probably doesn’t want to be on anyway). So I’ve been seen taking her picture, but it still doesn’t matter – the pained look isn’t due to my activities and there’s no posing from her. It gets better still!

ISO 200, 70 mm (105 mm equivalent 35 mm), f/8, 1/320 sec.

Here’s someone else who would rather not be here. But also someone else who couldn’t care less about what I’m doing. It’s been a real eye-opener seeing how little people respond to a fairly large camera with quite a sizeable lens. So I can just go ahead and play.

ISO 200, 150 mm (225 mm equivalent 35 mm), f/8, 1/400 sec.

This trio meant business and the leader is looking straight at me! Maybe I’ve overdone it here! But no – they just marched straight past me to their place at the front of the train. It seems that I may be invisible, so I’m on a winner!

By the time I took this image I was perfectly happy taking people’s photographs without their permission or knowledge. I took around 250 images in about two hours, without anyone caring or getting upset. It’s almost as though they expected to be photographed. Feeling this confidence allowed me to concentrate on their expressions and body language. Another side to this exercise is that I’ve looked more carefully at people and have seen that for the most part there’s very little smiling to be seen on the faces of people on holiday. What a shame! It’s a wonderful town with lots of interesting history, local trades, views and places to visit, but for the majority of visitors these aren’t part of the remit. It’s been quite an eye-opener!

I’ve realised that the majority of images I’ve taken are all at a fairly long focal length – I suppose it gives me a bit more room to run for it if required and it meant that I wasn’t intruding by being too close, but I did it to concentrate on the faces of my subjects without them being aware of my presence. I’m sure this will change as I get more exposure to this type of photography.

Project: A comfortable situation

The flexibility of digital cameras and their lenses has made the taking of candid ‘spur of the moment’ images much easier. With automatic single or continuous focusing, 3D matrix metering, automatic white balance and automatic ISO, the camera can react very quickly to changing conditions. Writing of images to the memory can be as fast as the camera can take an image, so continuous high speed exposures are possible. Combine this with the vibration reduction facilities of some lenses and cameras and the restrictions of low light, fast moving subjects and camera movement are virtually removed, so finding a comfortable position is made a lot easier – I can become part of the crowd and take images unobtrusively. Images can be digitally enhanced with imaging software which make difficult lighting situations more feasible, reduce noise etc. The number of images which can be taken without worrying about changing spools of film makes the taking of experimental shots easier, so the creativity of portraits is also enhanced.

Michael Freeman says in the book ‘Photographing people’, “Now you can photograph people under almost any circumstances, day or night, outdoors and indoors, without having to stop and adjust the situation or lighting”. This is a significant point, as less equipment needs to be taken on a session and there’s so much more latitude on what can be photographed and more control given to the composition if required. It follows that it should be easier to find the ‘comfortable situation’ when using the automatic camera settings than it would be in a prescribed, studio setting.

Part 2: People unaware

Here we go again on the portraiture experience. I think I’ll find this part a little easier than the first, because I’ll be more anonymous in this section – unless I get attacked of course! I prefer to work in the background, so this may be more up my street. There’s not an expectation by a subject to produce a quality portrait, so no one to answer to, so less pressure.

There are still mixed emotions to face:

· Voyeurism – it seems that in some circumstances I’d be the unseen viewer of what should be an intimate situation, and that doesn’t seem morally right to me.

· Taking people’s photographs without prior permission can lead to ill feeling and in some tribes / religions it’s unthinkable – this can be particularly difficult when photographing children (mainly due to too much media hype), but also with people in other countries. For instance, when in Kenya I was asked not to photograph some of the locals as they considered that taking their image took part of the person. It’s also considered by some religions that women should not be seen, never mind photographed.

So I’ll have to take situations as they come and try not to get into too much bother!

There are some events coming up over the next few weeks which will lend themselves to this part, so I’m anticipating that I’ll be taking less time to complete the next assignment. This is the height of the tourist season with Whitby Regatta weekend coming up, which runs straight into the Folk Week then closely followed by the village agricultural shows – so lots of opportunities to be used. Because of the number of events which are due in the next few weeks I may take some of the exercises out of sequence – it would be a shame to miss their potential.