The Northern Audio Visual Group

When I arrived at Snods Edge to help set up for the NAVGroup Audio Visual day, the sun was shining brightly, not a cloud in the sky. Birds welcomed the first day of spring with cheerful song. It was the sort of weather that usually tempts you outdoors, yet we were preparing to spend the day inside a darkened hall. No
matter—today, we had AV royalty in our midst: Malcolm Imhoff FRPS FACI(M) AV-EFIAP, our fantastic guest speaker. We also had fourteen of our own AV programmes lined up to watch.

Stepping into the old school hall, we were immediately struck by the fresh new paint job that left the space looking pristine. The early birds among us started arranging chairs and inspecting the high-tech equipment now installed. At first, there was no sound. It took a few minutes before we realised that, to paint the walls, the decorators had removed the huge speakers and forgotten to return them. Fortunately, the committee had anticipated such mishaps and brought their own AV equipment in the back of a car. After a brief debate, Patrick Johnston our Treasurer and Techie, selected a suitable set of speakers and soon had everything working.

Despite a slightly stressful set-up, our twenty-four delegates soon settled in, and the event began right on time. Val Johnston, our Chairlady, had scheduled seven members' AV presentations before the coffee break. There’s no need to list each one, but the variety was impressive - ranging from a thoroughly researched and captivating travelogue of the Holy Island of Lindisfarne to a masterful AV of macro images capturing tiny insects. We enjoyed an experimental programme about ten-
pin bowling, a fascinating record of how to build a camera from scratch, a travelogue through Germany in 1979 brought to life via old slides, a Scottish take on the Bayeux Tapestry, and a series of breathtaking wildlife images set to music.
Malcolm Imhoff offered constructive and insightful feedback on every programme, which the authors gratefully received.

After coffee, Malcolm Imhoff truly warmed up the proceedings—both figuratively and literally, as we also tracked down the thermostat to take the chill off the hall.
Malcolm’s presentation featured his award-winning audio-visual works themed around mountains. One particularly memorable sequence transported us to the snow-capped peaks of the Alps, where Malcolm recounted a harrowing ascent in pre-dawn darkness. His images captured the golden light breaking over jagged ridges, with clouds swirling far a scene both awe-inspiring and humbling. His storytelling made us feel as if we, too, were clinging to the mountainside, breathing in the thin, crisp air. It was the closest many of us would ever come to such heights, short of being in an aeroplane.

Lunch, often just a necessary pause, was a true delight on this occasion. The beautiful weather and the recently constructed outdoor seating area turned lunchtime into a very pleasant interlude. With conversations flowing easily in the
sunshine.

After lunch, we returned to the hall and once again scaled metaphorical
heights with Malcolm. This time, he explained the preparations and mindset required for an epic climb, sharing anecdotes about the physical and mental challenges he had faced. His next AV presentation lifted us above the cloud line, plunging us into a world of dramatic vistas and dizzying perspectives. The combination of stunning visuals and Malcolm's passionate narration left us exhilarated and inspired if somewhat breathless, both physically and artistically.

Unfortunately, the day took an unexpected turn when a medical emergency arose in the hall. Swift action from attendees ensured that the person received prompt care. Several members coordinated to call for assistance, while others offered support and comfort. The atmosphere was tense during the anxious hour that followed, but everyone rallied together until it was clear the situation was under control. Thankfully, the outcome was positive, and we could all breathe a sigh of relief. Malcolm, ever calm and compassionate, was on hand to reassure those present and became a hero in every sense of the word.

It was an eventful day—unusual at the start and worrying at the end—but in between, it was filled with learning, inspiration, and camaraderie. A memorable day by every measure.

What Makes a Cracking Audio-Visual Programme?

If we believe the old saying – beauty is in the eye of the beholder – then our audio-visual programmes should tickle the fancy of our audience. Of course, that’s the dream, but let’s not turn into someone desperately seeking the nod from the camera club’s judge. Personally, I reckon our audio-visual extravaganzas should fulfil the ambitions of their creators, unfettered by stuffy rules and fussy regulations.

Pop along to any meeting of the Northern Audio-Visual Group and eavesdrop on the musings of the members. You’ll soon sense there are a handful of, let’s say, ‘guidelines’ that make our creations easier on the eye, but no one’s wielding a rule book with an iron fist. We encourage members to unleash their creativity and develop their own particular styles. Think of the parameters as more ‘friendly pointers’ and less ‘Ten Commandments’.

There are two main breeds of audio-visual programme – the first is pictures dancing to the rhythm of music (Photo Harmony), and the second is the full Monty: commentary, music, sound effects, pictures. Both can spin a yarn admirably, if you don’t go off-piste and ignore a few basic tips.

Here’s an easy one: stick to the same horizontal format for your pictures, nearly always the 16:9 widescreen. There’s nothing more visually taxing than watching a show with black borders popping up and down like an overeager Jack-in-the-box. Your audience came to be entertained, not to play ‘spot the difference’.

An audio-visual delight is basically storytelling with sound and pictures. It’s infinitely more watchable if the sights and sounds make sense together. Don’t feel you must illustrate every syllable or narrate the blindingly obvious – your viewers can spot a cat on a mat without you telling them. The audio, be it a voice-over or a recognisable tune, should shake hands with the images and not wrestle them to the ground.

There’s one ‘guideline’ that’s so important it’s practically a law: change images on the beat of the music. This is the legendary ‘cut to the beat’. Most viewers won’t even notice it – unless you get it wrong, in which case, they’ll sense something is off, even if they can’t put their finger on it. It’s like socks with sandals: you just know it’s not right.

Even though your show consists of a parade of images, don’t think of it as a jumble sale of random snaps. How you glide from one picture to the next is part of the magic. As your ‘show’ meanders along, the pictures should flow – like a conga line, not a rugby scrum. For example, if slide one is a girl in a white dress on a beach and slide two is a different girl in a red dress, try to keep them in the same area on the screen. Don’t make your audience’s eyes do laps around the screen.

A show is much more satisfying if it’s got that classic story structure – a beginning, a middle, and an end. If the ending answers the question that you posed at the start, or reveals a dazzling twist, you’ll have your viewers cheering for more (or at least awake until the credits roll). There’s nothing like giving your audience that ‘a-ha!’ moment.

None of this is rocket science, and if you’re keen to have your stories applauded (or, at the very least, politely tolerated) by your audience, put together a programme and bring it along to a Northern Audio-Visual Group meeting. You’ll get tips, tricks, and maybe even a biscuit. Or just pop by anyway to see what everyone else is up to – you’ll always get a hearty welcome. In the end – it’s you who puts the ‘good’ in a good audio-visual programme. (And maybe a dab of humour helps, too!)

Having been involved in photography from the age of twelve, and deeply passionate about audio-visual—what we used to call slide tape—for three decades, I decided that my new goal would be to obtain a distinction from the Royal Photographic Society (RPS).

To begin, I joined the RPS and sought out a local audio-visual group affiliated with the society. Although this group only met twice per year, they gathered at a school hall in Snods Edge—a location with a charming name that piqued my curiosity. I found Snods Edge on the map and decided to bring one of my audio-visual presentations to share and receive feedback from the group.

My initial visit took place in March, at a time when snow was still falling. Fittingly, as I arrived Snods Edge—locally referred to as "snows edge"—was bathed in sunlight and blanketed with snow. My years in the audio-visual community meant I recognised several members, including Howard Wilson, who greeted me warmly. Spotting the CD in my hand, Howard remarked that I must be ready for 'criticism,' as the group traditionally called it. He joked that one needed to be thick-skinned because the jury could be quite harsh. However, the feedback on my presentation was not overly critical, and I left feeling satisfied with my experience.

Although my first encounter at Snods Edge—soon affectionately known to me as ‘Snods’—was slightly intimidating, I found it both enjoyable and educational. I gained valuable insight into what the RPS distinctions panel might look for in candidates. I continued to attend meetings, eventually joined the committee, and later accepted the Chairmanship. Over twenty-five years, I have cherished my membership and formed enduring friendships.

Over time, the landscape of audio-visual work has evolved. The introduction of modern techniques and equipment has softened the group’s approach. Criticism is now framed as advice, and encouragement is offered by fellow members. The NAVGroup is no longer affiliated with the RPS, and those seeking audio-visual distinctions now also have alternative paths.

During my journey, I achieved both LRPS and ARPS distinctions in audio-visual work. I remain grateful for the constructive criticism I received at Snods Edge, even though I can no longer use these distinctions as I am not currently a member of the Royal Photographic Society. Nevertheless, I continue to benefit from my involvement and commitment to the Northern Audio-Visual Group.