Our thanks to David Southwell not only for a sterling job in judging the Hankin and Scantlebury Trophies round but for doing so at short notice. Always a model when it comes to his consideration and feedback. Our continued run of no shows, reasons aside, continued as the 2015-2016 season goes down as “The year the Judges didn’t”. Results will be posted on the club website made available and the awards made at the end of year bash.
As ever, the last two rounds of the ROC have shown that the interests, eyes for an opportunity and styles of club members are very different. They are, if we let them be, calls to go out and do some things afresh, to get better. In the final analysis the only person we are competing against is our self. We have visited this improvement theme more than a few times but that does not alter the fact that it is our own experience and limitations that go into taking the next frame. It maybe a little dispiriting when people/clients are name-checking a 9 year old over you, or when the fourteenth consecutive judge has failed to notice your genius, but that doesn’t matter because you are following your passion.
Except it does matter.
It matters because you don’t need to let your passion get in the way of your passion for. Passion here, we could also read as ego, passion for as motivation. I am not going to launch into a Freudian lecture on Id Ego and Super Ego, but the point was made on Petapixel this week in an article built around a Mike Rowe video entitled “Don’t follow your passion“. Essentially it is about blinkering ourselves to opportunity by focusing on what we desire, or think desirable, or think we should think desirable.
Someone, actually it was Ralph Waldo Emerson and in answer to your next question, yes I do know where he is, said that life is a journey not a destination. Well thinking about it he might be right but actually that doesn’t actually mean anything nor does it indicate what we should do next. Let’s put this into photographic terms. Your eye sight is fading, it was always better in the days of film, you were once the proud owner of an Austin Allegro and your favourite colour is beige. Conclusion? Go and judge some club competitions, who will then marvel at your beige enhanced, photochemical scented nostalgia and razor perception of the necessary width of a border. A fairly accurate description of the judge who doesn’t pick your photo for at least a commendation, obviously.
What we have here is not so much a matter of perspective as a matter of investment. The landscaper who hacks across perilous marshlands in the dark in order to get that glorious sunrise, slightly over exposed, but that can be “fixed in post”, with the horizon bang in the middle, but that can be cropped out, the dynamic range in the frame more than JPEG can handle, did that for effect, and with the tips of branches intruding from one side, strong vignette will sort that out, is left with a sense of achievement imbued by the difficulty of the journey and the glory of the post shoot slap up breakfast. The journey becomes the point and the spectacles distinctly rose hewed because of it. Along comes the judge, who has trekked that very path, taken that very scene, made it part of their successful RPS panel and basically says “Should have gone to Specsavers”. If a good ‘un their feed back will provide a map to get them there. Obviously, our landscaper is the victim of myopia, poor taste, jealousy, misunderstanding etc etc. Yet, following their passion, and as we seem to be in the middle of a quote-fest, they have fulfilled the Yogi Berra observation that “If you don’t know where you are going you might find yourself someplace else”.
It’s not the trek over the perilous path that the judge is judging, it’s the image that resulted and it is being judged against the other entries in that part of the competition. Yes, it is all relative, and if the competition regularly shoots for and is commissioned by National Geographic then the standard you have to hit to be good enough to reward is going to be far, far higher. In this rather extreme case you have a decision to make. Buckle or learn? If you are following your passion then the former is easier, eventually than the latter. If you bring your passion with you, as Rowe points out, then the latter becomes a lot easier – if you have a system for and a willingness to put it into operation.
There is a negative side that can raise its head here and that is to do with confidence. Lack of confidence is, I would speculate, the number one reason members don’t enter club competitions and whereas it is true, or maybe, it can also come across as a bit glib to say, nothing ventured nothing gained. The essential truth doesn’t take the sting out of failure. Experience has taught me that if you don’t “fail” (come up to expectation, yours or someone else’s) you cannot learn. Fail is just an acronym. First Action In Learning. Don’t fail, can’t learn, can’t learn won’t improve. Enter the competitions not to win but to learn. That is where the judge’s feedback is so very important. If you have a system for and a willingness to put it into operation. Simply put, take what the judge said could be improved, go take two similar shots, one with those sins included and one with them omitted. Which seems better? Make a note, as in write it down in a note book. Practice the better outcome. Read your notes often.
All of which takes motivation. Actually two things it takes, the first I have just mentioned, repetition, the second is the spur to action. The pattern for most people who are not obsessive/compulsive is to have a whole lot of enthusiasm at the beginning which tales off to mild interest and finally redundancy over time. In that way motivation carries the seeds of its own destruction. The key is to vary. Not one technique done to death but two or three practiced together, and always with a critical eye, a positively critical eye. Technique is more important 99 times out of a hundred, than gear, but that is not to diminish the role that gear can play. It’s just better to invest in it gradually and purposefully. Know why and what you are going to achieve by investing in it. What it isn’t is a crutch for bad technique. Which brings us back to the top of the page.
N E X T M E E T I NG
Practical outdoors, bring your cameras. If weather inclement then we will be indoors.
And so the season is now officially over with the presentation of the trophies, but not the events, this Thursday Weston-Super-Mare, get there early as there is lots to see, not least because Thursday night in the summer is Weston bike night. Two weeks ago there must have been a couple of hundred bikes and not a few trikes of every shape, size and paint job, so lots to look at. Starts getting busy around 6pm and there are the other, more permanent attractions to look to as well. This being the summer break from Wick Road, I thought I would use this opportunity to look at just how much is actually going on in our hobby from a quick snapshot of the photographic headlines this last week or so.
Starting, of course with our social evening. I have drawn up a table of winners which you will find in this linked document 150716 Reflex Award Winners 2014-15 and will let that and the strong forward looking feel and commentaries from the AGM speak for the club, and a special thanks to Mark O’Grady for pulling all this information and for all the behind the scenes work. There is a lot of it.
It has been quite an important ten days or so, no, strike that, a very, very important ten days or so for your rights as a photographer. The European Parliament, as I have written about elsewhere held a vote on the European Commission’s proposals, a lot of them as it turns out, for harmonising copyright across the European Union. In itself that is important for the future of photography and photographers among the 500 million EU citizens covered by such an agreement. One of the proposals was to adopt the system whereby public buildings – including furniture like statues that form part of the designed space – should have the copy right of the designers protected and thus photographing them without the architect/copyright holders permission would constitute an offence (civil rather than criminal as far as I can work out). Half a million people signed a petition against this clause which was withdrawn on the day of the vote in face of this opposition. The Freedom of Panorama as it has become known has been maintained, though you should still check what the local laws are on these things because any necessary changes have to be enacted in national legislation (and that can take years). Still, three cheers for democracy.
A triumph for UK photographic technology this week, the sensors that recoded the Pluto images were made right here. It took four and a half hours for the information to get back from Pluto and another 1 hour at Boots to get them developed, but scientists seemed very pleased with the results. It’s a fantastic achievement. OK, you can print them quicker at home, but you have to buy all the kit and have somewhere to put it, not to mention the exorbitant cost of ink and paper.
You wouldn’t want them to all be out of focus like those from the Hubble Telescope, but as of next Year that won’t be a problem for owners of the shortly-to-be-released Panasonic GX8 when a 2016 firmware update will allow the user to “Post Focus” an image – something we talked about a month or so about. The firmware update will also apply to the FZ-300. The capabilities of consumer electronics companies cameras being released now represent a step change from that being evolved by Canon and Nikon, who still have 85% of the market between them. Of course there will be arguments about whether bells and whistles are what are required, but if you’ve been around photography long enough be sure that you can save a lot of time and ear ache and get on with your photographic life by substituting the words “Film” and “Digital” with the words “Proper” and “Toy”. For those of us longer in our remaining tooth we can substitute the brands “BSA”, “Triumph” and “Norton” with “Honda”, “Yamaha” and “Suzuki”. That ended well for market leaders, didn’t it?
There again “You don’t need all that technology to make a photograph”. We’ve heard it and seen it from Justin Quinnell back in March and it’s an idea that has momentum. Pinhole photography is practical, simple and gives you time to think and reflect. The very opportunities that digital gives us can also work against us – especially the “I’ll fix that in post”. There has always been a post and there has always been fixing but there is no substitution for time and care spent on understanding then composing your subject. The idea that the image represents more than what you see because you invest in one that has a connection with you is pretty much as old as art and we’ve been over the whole Gestalt thing elsewhere. Taking time when time is what you’ve got pays dividends.
Finally, if you think that grain is a problem in your images, take a look at this adaption from the film days ….
W-S-M. Thursday 23rd. Be there!
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Reflex Open Competition Results
The winners and runners up in the 2012/13 season of the Reflex Camera Club Open Competition. Congratulations to you all and a huge thank you to everyone that took part.
1st Suzanne King 65 points
2nd Maurice Thompson 39 points
3rd Julia Simone 37 points
1st Richard Price 37 points
2nd Mark OGrady 27 points
3rd Angie Nelson 25 points
1st Suzanne King 44 points
2nd Richard Price 38 points
3rd Angie Nelson 36 points
Photographer of the Year
1st Richard Price 75 points
2nd Suzanne King 65 points
3rd Angie Nelson 61 points
Best Digital Image (Stan Scantlebury Shield)
Best Printed Image (John Hankin Shield)
The following Novices are promoted to the Advanced Section:
Suzanne King, Julia Simone, Wendy OBrien, Dan Ellis, Gary Horne, Maurice Thompson
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Thursday we had the results of our John Hankin & Stan Scantlebury Shields. Which are for Best Printed and Best Digital Projected Image of the Year. We kind of sprang a bit of a surprise on everyone when they realised that we had put the Novice and Advanced images in together. After all there can only be one best Digital or Printed image of the year can’t there.
On behalf of the Committee I want to thank everyone that has taken part in the Reflex Open Competition this year. The standard of your images has been superb. I know it takes a lot of time & effort to take part in the ROC and we appreciate you all making the effort. It’s probably one of the most nerve wracking and difficult things to put something you have created in front of a room full of people and wait for someone you don’t know to tell you what they think of it. If you’ve been paying attention to what the judges have been saying (or at least most of them) then you will realise that they have been pretty constructive in their comments. So if you didn’t take part this year I hope that looking at the images and seeing just what is needed has inspired you to enter next time.
Pete Weaver was our judge for the evening and decided to judge them cold on the night which was a brave move that many judges would not even contemplate. He started off with the Printed Images and it soon became clear that the pile of images he liked and wanted to award placings to was going to be a lot larger than the ones he didn’t like. After the Prints he worked his way through the Digital projected and he picked quite a few to receive Highly Commended spots.
John Hankin Shield
(Best Printed Image of the Year)
1st: Forever Autumn by Mark OGrady
2nd: Up the Hill, Down the Hole by Alison Davies
3rd: Blackened Light by Mark OGrady
Highly Commended: Tranquillity by Alison Davies
Highly Commended: Tulip after Spring Rain by Suzanne King
Highly Commended: Alpine Butterfly by Suzanne King
Stan Scantlebury Shield
(Best Digital Projected Image of the Year)
1st: Utterly Drenched by Alison Davies
2nd: Dungeness by Steve Hallam
=3rd: There Bee a little pollinator by Suzanne King
=3rd: Reflex by Mark OGrady
Highly Commended: Severn Sunset by Roy Williams
Highly Commended; Reflection by Gary Horne
Highly Commended: The Watcher by Ian Coombs
Highly Commended: Lonesome Jug by Barrie Brown
Highly Commended: Marching Pylons by Dan Ellis
Highly Commended: Summer Stroll by Roy Williams
Highly Commended: Multiplicity by Gary Horne
That’s the Reflex Open Competition finished for the 2012/13 Season. But who has won? You will have to come to the Prize Giving on the 30th May to find out.