Mallow Camera Club Member, Viv Buckley, Achieves Fellowship of the Irish Photographic Federation

Viv Buckley, a long-standing member of Mallow Camera Club, is celebrating the award of the highest distinction that the Irish Photographic Federation (IPF) awards, i.e. Fellowship of the Irish Photographic Federation (FIPF).

Viv has been a member of Mallow Camera Club since 2009 and has previously achieved the Licentiate and Associate distinctions with the Irish Photographic Federation. Viv is just the second current member of Mallow Camera Club to achieve the FIPF distinction.

The Fellowship distinction process involved presenting a panel of twenty printed images, of the highest photographic quality, which must sit together as a cohesive body of work, to demonstrate the applicant’s distinguished ability and/or style in a specialist area of photography, together with a Statement of Intent, which describes what the author intends to achieve with the images. Achieving cohesiveness across all 20 images was a huge element of the submission and  considerable time went into selecting twenty prints, unique in content and whose colours flowed in seamless transitions within the theme and style of the panel,  and in developing the Statement of Intent, for both of which Viv garnered advice from some of the other senior members in Mallow Camera Club, especially from John Hooton FIPF FRPS MFIAP.

Because of COVID-19 restrictions, the distinctions assessment session was conducted by the IPF over Zoom, with a panel of seven approved assessors, all of whom hold the FIPF distinction, viewing digital images remotely,  one of whom had the original printed images and provided feedback to the other assessors on the quality of the prints.

Viv’s presented a fabulous panel of botanical images, based on the 19th century technique of cyanotype printing, but with a unique modern twist:

Viv’s Statement of Intent, which accompanied the panel is as follows:

“My presentation is a botanical study of shape, colour, texture and patterns.

It is based on the  19th century technique of cyanotype printing with a modern twist.

This body of work delivers a cohesive submission of plant images, with  the background colours creating chromatic transitions from Prussian blue through to green and yellow tones.

The process is organic and the results are unpredictable and unique to each image.

The amazing natural shapes created by the plant material placed on the sensitised paper  to create the silhouette, is then enhanced with various agents to create unique textures and patterns to the background of each image before exposing to the light.

Each stage of the image development was photographed, and the blending of these images produced the harmony and rhythm throughout the panel which takes the viewer through a journey of complementary toning while marvelling at natures ingenuity in the patterns and shapes of the plant material.

Enjoy my blend of the old with the new.”

Viv describes the process she used to create her images as follows:

“At the very beginnings of photography scientist discovered that by using combinations of certain chemicals painted onto  paper they could capture impressions of plant material when exposed to the sun. The first book of photographic imprints was produced by Anna Atkins in 1843, they are cyanotype prints of algae. And in later years the technique was used to produce blueprints for architects and engineers.

Inspired by these early photographic techniques and particularly by a woman who had gained so much knowledge in a male dominate scientific field, I started out on the journey of recreating botanical imprints using the method of cyanotype and spent 6 months in 2020 producing many imprints in this way.

I purchased the basic chemicals ferric ammonium citrate and potassium ferricyanide and mixed them together to paint onto strong watercolour paper.  They immediately become sensitive to light so need to be kept in a dark place until ready for exposure. Plant specimens were brought from the garden and pressed flat and placed on the sensitised paper. To make the prints original and varied, I added other household chemicals to the mix on the paper before exposing the sun, such as soap suds, vinegar, turmeric, salt, etc. to create background  colours and patterns on the paper, before taking the images out to develop in the sun.

To finish off the process I photographed the prints at different stages and blended these in Photoshop to enhance the variation in colour and make a panel of colour coordinated  prints printed on art paper.”

A delighted Viv said “The cyanotype project submitted for my Fellowship distinction took many months in the making...actually a real labour of love.  It taught me a new set of skills and there were many failures along the way, but thanks to the advice and encouragement of other club members, I was delighted to achieve my goal of FIPF.”

Kieran Cogan, Chairman of Mallow Camera Club, said “Viv is a leading light and a key member of Mallow Camera Club. She has contributed hugely to the development of the club and its members since she joined the club over eleven years ago. Viv has won many awards and distinctions, both nationally and internationally,  and we are all extremely proud of her latest achievement.”

Viv Buckley FIPF AFIAP