Round 2 of the ROC and again a wide variety of images for our replacement judge, Adrian Herring, to weigh up. An enjoyable evening and some names beginning to filter through we haven’t seen for a while.
So, what is the value of judging to the entrants? The competitive element aside, and that is more of a spur to some than others, there is a considered viewpoint about merits, demerits and options not taken. It is a photographers view, more succinctly, another photographer’s view.
Our photographs have many potential audiences. Some of those audiences mean more to us than others, though we should be dismissive of none of them. Our job, as the artist and as far as we can, is to elicit why that viewer has that opinion. To us “Because” is the most powerful tool in the box.
Now there are some very important rules to apply to this as an exercise. Some people’s opinions will mean more to us than others, and the ability to maintain perspective given those sources is important. If every negative comment lands as a blow and every positive one brushed away then we are setting ourselves up for a bad experience all round.
It is about the work not the photographer. The outcome is one thing, win/loose is the short term, growth, choosing to take the opportunity to learn, makes getting stuck less likely.
Balance is crucial. The one thing that you can say about the judging within the club, within the WCPF, is that the feedback is impartial. Yes it is going to reflect the judges tastes, but never yet has there been a lack of reasoning (in my experience). That reasoning is the wheat in the chaff.
What went right is as important as what went wrong.
The judge’s job is to make decisions on the entered images, but, also to expand on this and grow it into an interpretation of those images. Constructive criticism. They tell us what they see. Their general purpose is to enrich our understanding of the work in front of us. In doing so they will create points of agreement and dissension. And winners and losers are appointed accordingly.
But we can critique (not beat up, please note) ourselves. There isn’t one model but it helps if we adopt the same model each time, the same basic questions. We have talked before of this in relation to developing a style, but it is a general skills developmental tool in a broader sense.
This is better yet if we commit it to a journal or scrap book of images that attract us and why, of techniques, looks and resources. Yes, YouTube has many excellent videos, but finding them again can be easier said than done and it necessarily makes us passive by taking the time to watch the videos and more so if we then don’t go and try it.
Competitions such as the ROC are a chance to look at other peoples photography critically. We shouldn’t wait till then to do that. We live in a visually oriented world, so much so that it is too easy to let the everyday opportunities pass by. Flickr, 500PX, Instagram and other sites dedicated to users photography are an easily accessible source of images at all levels.
And if we go to these sort of sites with a critical but open mind it becomes an enjoyable way of getting our own thoughts ordered and in finding new ideas and things to try. Similarly in looking for the works of acknowledged masters of the craft we can use our critical framework to get our own insights from their work.
It all helps us see the photograph we want before we take that photograph. Visualisation, as it is called. Where we reach that point where the “Camera is a tool for learning to see without a camera” (Dorothea Lange). It is based, I would argue, in knowing how the pieces are going to fit in the frame.
And that can only come through a conscious regime of planning, doing and reviewing. That isn’t a recipe for doing the same thing to death, it’s an invitation to learn how to do things well. It is also an opening to learn from others. That is why it is a good thing to enter club competitions, whatever you think your level is. Because ….. well, only your photographs can answer that.
If you have been following this series you will by now have generated a good few images. Some will strike you as being better than others for reasons that are obvious and not so obvious. This session we are going to look at a, but by no means the, system we can use to level the playing field in terms of how we come to those conclusions.
For this you will need, pen, paper, a selection of your images and written answers to the following questions:
Where does my eye rest (which part has greatest visual weight)?
Are their any distractions? (List them if so).
Is the exposure correct? (Too light? Too Dark? Spot on?)
Would a different crop make it a stronger picture? (What should be left in/out?)
What is the effect of the background? (Supports the picture/too crowded or busy how?)
How does the depth of field effect the picture?
How are things arranged? (How effective is the composition and why?)
Is the colour accurate and what effect does this have?
Is the image a cliché (Why? What about it makes it so?)
What is your overall impression (a summary of all the above points with reasons)
This is an exercise you should do on your own and other peoples work. Keeping a record helps us to see patterns emerging – the first inklings of our style – and it forms a basis that stretches across genres. Do it with another photographer and a non photographer and compare the outcomes.
Reflex Open Competition Round 4 last meeting and congratulations to the award winners and I hope everyone took something away from the evening. Our judge was Roger Mallinson, the man to go to if you want to know about making audio visual presentations and a returnee to judge at Reflex and many thanks to him for his time and effort. As usual the winners will appear on the club website in due course.
“There is no special way a photograph should look“ – Garry Winogrand.
Even a themed competition will tell you that and whereas there are things that work as a general rule, the tools of composition, and sharpness, as we have quoted before, is a “Bourgeoise concept” (maybe). It does rather make you wonder what club competitions are for.
Well the first two clues are in the name club competition. It is about members of the club, first and foremost. Members having a framework into which they can receive feedback. And it is about competition, that is to say a test of skill and ability against other like minded individuals. They coexist but, depending on our choices and personalities, one side will be more important than the other. Recognition is both a middle point and the backbone that connects the two extremes.
If no two pictures are the same how do we differentiate between two pictures on merit? The tools of composition give us a clue, more particularly how they are used and abused, but there is no one accepted system, though some sort of system is required to be consistent.
No two judges are the same and that is a good thing. All our judges are fellow photographers and have their own development route. OK we have all sat there and thought, on occasion, what are they on and where do I get some? when our carefully crafted images totally fail to convey their message. The fault does not lie with the viewer. It is still a good thing if that failure comes with an explanation. Better yet one that we can apply to the next similar situation.
If we don’t fail, at least occasionally, and have an inkling of why we fail then we will not learn. It all comes back to that word “Because”. There is no way a photograph should look. There are individual tastes and opinions and that will apply to any judge the same as to the rest of us.
Lets come back to that idea of sharpness and its evil twin blur as one example. Generally, when looking at a photograph, one of the first things that strike us is can we see it clearly. It is important because I, for one, can see blurry things just by taking my glasses off. Rather like a number of my fellow club members, I paid rather a lot of money specifically to do the opposite and see things in focus. Focus is a thing and having something sharp within our depth of focus is generally desirable.
If there was a single way of producing an acceptable image all images must either be all in or all out of focus. We would then be free to challenge this convention or rule in the pursuit of artistic interpretation. Hold on. Wait one. That’s exacly what we do on occasion. It is one of the most popular nights we have for practicals on the calendar. It’s called light-painting.
Blur can be creative when it is deliberate and controlled (or we can pass it off as that). We generally differentiate blur from focus as one is produced by movement and one by mechanical physics. Ultra wide and expensive prime lenses producing very limited acceptable focus and blury (often sold as dreamy) backgrounds are all the rage. Bokeh is a thing too and now deemed as a selling point in a lens. Figure to ground is an established art principle of grouping things together visually (visited recently in our tour around Gestalt theory) where the subject is seperated from but relational to the background (and or foreground).
Creative blur is an accepted technique. That is it is deliberate and measured in its application to a suitable subject. The idea of photo-dynamism is over a century old and is linked to a wider art movement known as Italian Futurism, though photography was initially rejected by the Futurists for being static.
It has several variants we might use. First up we have the deliberate de-focusing effect. Bokeh originated from this in Japan and became a form all of its own but was always an incidental to taking photographs with points of light in the background. Defocusing works best in colour, with large blocks of identifiable shapes such as flowers, people, painted walls etc. It also works well when shooting against a bright background. Where to stop defocusing is a personal call, again there is no fixed point, but it’s fun to do.
Next up we have panning. We talked last week about taking panoramas, basically a linked series of photographs of something from a fixed point that usually extends beyond the horizontal field of focus of our lenses regardless of there orientation. This uses the same movement idea but within the same period of exposure. By necessity this involves longer shutter speeds but doesn’t have to be on a tripod,.though a pair of steady hands is useful. Keeping the focus and speed in synch on the subject is one option, but the other is to slowly follow the subject through keeping it identifiable but blurred.
Thirdly we have the deliberate shake of the camera during the exposure, up and down or left to right. This doesn’t have to be violent to give an effect but it is best if slightly exaggerated. A fourth variation is to rotate the camera during the exposure around a fixed point.
So five variations that we can try and combine into a little project and maybe use to generate entries in the next round of ROC.
2017-2018 Season Round One of the Open Competition (DPI) was an evening of considerable variety. The prints will be judged next session. Congratulations to Wendy Goodchild for her winning entry and thanks to our judges, multiple award winning husband and wife team Peter Brisley and Sue O’Connell, who are back next session to judge the prints. We have had to split the judging for this round because of the volume of DPI’s in particular, but the number of print entries, gratifyingly, is also up. Our thanks to our judges for being so accommodating.
What was striking was the variety of subjects and styles on display. This we can take as a good thing because we get to see other people’s interpretations of subjects we have almost certainly chanced our arms at in the past. There is also an advantage, not immediately obvious, in watching our and fellow club members progress over the course of a season. Thinking about what we do is an important part of developing our art. There is a difference between someone who has taken 10,000 photographs and learned from their mistakes and someone who has taken one set of mistakes and repeated them 10,000 times (with several, increasingly expensive, kit upgrades in the interim, no doubt). There is a difference between a photographer and a-bloke-with-a -camera after all. Well, most of the time, if not for everyone and increasingly for next-to-no-money whatsoever.
Yet we cannot get anywhere meaningful without the effort. There really aren’t “bad” cameras anymore. Ditto lenses. This rather points to the photographer as the weak link in the chain. At some point we want to be more than just the button pusher. Creativity requires effort and lots and lots and lots of practice. Not a blinding revelation and not the first time it has been mentioned on this blog, but certainly it is a truth of learning. Anything we learn pretty much follows that pattern. We know this so why not use it?
Critique, like we get in competition rounds, but not exclusively restricted to that, is a good source of fuel for our development. Structured in its delivery and used as a starting point, or rather a restarting point, if we were to take that image and again and apply the observations we have been given, would the image be more effective at relaying its story?
Like or dislike of an image is natural and almost instant. When sorting through a large number of images for editing or weeding a good rule of thumb is if it doesn’t hold your attention for two seconds (or more) bin it. Critiquing requires we go beyond the immediate reaction. Even the most experienced of judges can suffer a failure to understand. A good judge will be honest about this – and we are also our own judges so I am not just talking about club photo competitions – and give us a reason or set of reasons why not. But it will be structured and it will provide information we can consider the next time we have the camera out. The key is the word because. This is, absolutely, the key.
For sure critique needs a framework to be meaningful and for sure it is subjective, but there is no one method, and every time we look at it we take a slightly different path to reflect this. This might give the impression that it is not very effective. Yet no artist ever develops without nurturing one. The same way as having a purpose in taking the pictures we want rather than the pictures that present (that’s not to say we shouldn’t be open to the unexpected) is part of the same process.
Look at the opportunities the club presents. Practicals for sure, are pretty obvious. Ditto the competition rounds. Speakers are a chance to get ideas from, to look for alternatives and also to interact with the material presented, to say I like that because … or I don’t like that because … I would alter that … I will try that … how did they do … Whatever else, you cannot beat a bit of deliberate action.
And take lots of pictures.
And look at lots of pictures. There are plenty of sites on the web to give us ideas. Flickr, 500px and other general sites to more specific and curated ones, like the Magnum Agency and the stock photo sites like iStock or Shutterstock, or social media groups like those to be found on Facebook or sites like Instagram. Look, but look critically.
We have had Round 4 of the ROC (see website for results) and a presentation by the Dream Team which both show what you can do with a bit of application – and a lot of planning. So, is there a magic formula to improving as a photographer?
The simple answer is “No”. Anybody trying to sell you an alternative is peddling snake oil and the likelihood of success is about the same, though that wouldn’t stop them claiming any advances as proof positive.
The “Through hard work” answer is a partial truth, there is no denying that application is part of it, but a Protestant Work Ethic alone isn’t going to affect the desired outcome. After all if you just do what you have always done, you are going to get what you have always got, as someone, maybe Henry Ford, or was it Mark Twain? Could have been Albert Einstein, or somebody else, once said. And there is truth in it. But not the whole truth.
Direction comes into it. “If you don’t know where you’re going, you’ll wind up somewhere else”. That was Yogi Berra, and yes we’ve used it before. Direction and hard work, we are starting to get somewhere. The right direction and hard work. The work might be hard but it doesn’t have to be unenjoyable. Rewarding, directed, hard work. The reward and how hard we work for it are linked are for sure. Nothing quite gives us a lift as an image that comes out as we saw it.
None of this, otherwise sound, advice gives us a point to start from. Again there is an obvious but not very helpful answer to this. We can only start from where we are. “I wouldn’t be starting from here” said the eponymous Irishman when asked for directions, and I know what he meant. The first job, then, is to decide where we are.
And this involves looking, but looking with a purpose, looking critically at what we are doing and finding some photographers whose work we admire and practising (here’s a start if you need one, but it is just a start) what we like in their photo’s. Join sites like Flickr (the club has its own page, put some contributions up) or 500px where you can build galleries of your own favourites and try doing your own versions of them. Keep experimenting around a theme and you will start to see some improvements as long as you apply a critical eye to the results.
If we want a starting point then we could do worse than take Robert Capa’s dictum that “If your photograph isn’t good enough then you aren’t close enough”. A photograph tells one story well and cropping in on the essential detail leaves less room for confusion. It doesn’t matter whether you zoom with your lens or zoom with your feet (there are differences but they are subtle, real but not really for today’s argument, and all to do with perspective) but it can have an effect, will have an effect.
We are aiming to tell a story with a single detail. When we are looking at our scene through our viewfinder our mission is to find the detail that makes a difference. That can be a look, the curve of a line, the repetition of pattern, a contrast in colours, or something else. There will have been a something though, and that something is the thing that caught our attention. This is when working the scene comes into its own. This works whether we set out to take a particular picture or are just wandering through the landscape looking for inspiration. Once we find the something, the key, we can use it to unlock the potential in something that has taken our attention.
Or as Aristotle sort of put it, we start seeing when we stop looking. Technically it is known as Inattentional Blindness, and happens when we exceed the processing speed and capacity of our brains. We can use this to our own advantage by letting go of putting everything into context and just following the things that catch our attention (paying due consideration to our own and others Health and Safety of course). Basically our brain is trying to tell us something, so shut up and listen.
And the best camera settings for that? Three options. The camera decides, you decide or something in the middle. Most photographers go for something in the middle. Essentially we are playing with the exposure triangle and the notion that the best that our camera will produce is a combination of shutter speed, aperture and ISO according to the prevailing light conditions. You deciding is full manual. This is a preference, rarely a necessity, but it is worth learning because it teaches you about how your camera captures light and the worth of capturing light and shadow.
The other two options are let the camera decide, “P” or “Auto”, or something in between, shutter priority, aperture priority, exposure compensation. Full on auto will get you an acceptable picture most of the time, after all camera companies spend an awful lot of money on researching these things and writing algorithms to match. But it can be fooled. The in between range from scene selection where you alter the elements of the exposure triangle by selecting the symbol closest to the conditions you are shooting in, to setting the importance of the aperture or shutter relative to the ISO you are using. Control is what you are opting for or out of in various degrees. Most “Serious” photographers seem to shoot in aperture priority if that is any guide because that gives the most direct control over depth of field without having to fiddle with the other two sides of the triangle.
There is no right side, there are preferred sides there are sides that make certain situations easier. The fact is that, as a hobby, we have the luxury of having the time to play, experiment and fail a lot on our way to getting better. Joining a Photography club or an active photography interest group is part of that.
N E X T M E E T I N G
1st June 2017 19:30 – Guest Speaker: Sue Winkworth: “On The Road To Mandalay.”
(Deadline for John Hankin and Stan Scantlebury shield entries)
Given the travails that we went through to get last meeting off the ground, loosing not one but two judges at very short notice, then Bristol traffic conspiring to wedge the prints in an immovable traffic jam on the other side of town, just when things looked like they might be going right leads one to wonder just what the universe was telling us. Absolute sterling work from the Competition Secretary, Mark O’Grady, frustrated by circumstance. Big thanks from all of us Mark, for going above and beyond. Then – and British readers of this blog will want to make sure that they are resolutely braced before taking this bit in – the tea urn went missing. Still we got somewhere in the end.
So, why does a club have competitions? There are, of course as many reasons for that as there are club members. Recognition, acclamation, ideas, feedback, discussion something to fill a hole in the calendar, are just a few of the headlines you could write a whole blog and more on each. No, don’t panic, I am not going to. When children draw they don’t have a concept of consequences, is this good or is this bad? Right colours? Does it look like it should? and so on. What they produce is intensely personal and very honest. As we grow older we learn notions of correctness and benefit and we unlearn the naiveté that made making pictures fun. Even of the abstract we come to demand technical proficiency. We corral our imagination.
In time we improve or abandon the pursuit according to circumstances and according to what we want. We buy a camera because we want to record a special occasion, a holiday or maybe our own children or children we are close to, a few of us because we are curious about pictures and want to get better at making them. Now- a-days, rather than buy a camera specifically we are much more likely to turn to our phones. The pictures we want to make are generally those we can create without the many hours and mess involved in painting, never mind the fine motor skills, which some turn into is photography art debates (Yes move on). Cameras and pictures are so much a part of society these days that picture making is pretty much second nature.
Most of those pictures being taken at this very moment are dull, boring, technically flawed and mean something only to the person who will forget they took it by tomorrow. They are constructed for different purposes. We decide to get better at this sort of thing and, suddenly, (nearly) everyone else’s pictures look better than ours. That can be a spur or it can put us off. Access to the ways of doing things is a lot easier now than it was, there are blogs and video channels aplenty as well as the more traditional routes through books and courses galore that blend all these. That, however, can make matters confusing rather than easier. So we know about the tools of odds, of thirds, of lead lines and negative space, symmetry, foreground interest and the effect of focal length, and the importance of balance and we know all about the exposure triangle. In fact we can know a lot about a lot and can still make pictures that lack impact.
The problem, at least in part, is that we have all these tools and rules but they are tools and rules of thumb. Certainly they exaggerate elements of the arrangement of the objects in the frame and hold others back but we keep coming up against the idea of technically proficient but subject deficient – and other people’s photographs still look better than ours. It is self doubt that becomes, once one has learned the basics, the biggest drag on learning. Sometimes we cannot see for looking. Sure, we need a mind open to development, open to seeing other people’s work, looking at other pictures in that picture but the frame of mind has to be positive and the habit has to be always looking for the picture – even when you can’t carry a camera. The habit is the thing that enables everything else, the letting go of the half-expectation of finding something to photograph and replacing it with the opportunities to see something to photograph.
That can be where club competitions come in. Yes we want to test our metal against others, but we also need feedback. No we don’t always agree with the judge, but we need to be able to say why. Yes the judging is subjective, yes its structure does mean certain types of photography may not fare as well, but it is a structured feedback on pictures that are anonimised and it is something that you can work with if you choose. The more experienced judges should come with a wider perspective anyway and whereas they will have their likes and dislikes – some of them strong – the perspective they are showing is a start.
If we can get into the habit of the feedforward loop we will do ourselves an enormous favour. Feedforward is when we take the experience of a previous occasion and use it to improve (control) a future event. Learning from the future ” Images of adaptive future behaviour, hitherto not mastered” (Wikipedia) or in our case getting the picture we see in our head as a Jpeg by design not accident, is something we can only do as design.
Next session is a 10 by 10 (or there abouts) where members talk about their own images, what they got from them, what they would do differently (among other things). Open to all members, bring some along and join in, especially our newer members, as we are all interested in photography and this is a good opportunity to share it.
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.
Tony Byram was our most welcome returning judge for Round 4, the final round of this season, of the Reflex Open Competition. We had a very strong showing, over 100 images in the combined sections I believe and so it was a very busy night and a marathon preparative task for Tony. Thank you Tony for your succinct feedback.
Before we get on to the results there has been some confusion over the rules, especially for prints. You are still required to enter a DIGITAL COPY OF THE IMAGE YOU PRINT through Dropbox. THIS SHOULD ADHERE TO THE SAME SPECIFICATION AS A DIGITAL ENTRY i.e. no bigger than 1400 x 1050 pixels and sRGB colourspace. SEE LINKS BELOW FOR LABELLING REQUIREMENTS. If you don’t your entry will be disqualified. Also make sure that your frames are standardised at 40 x 50 cms, no bigger, no smaller. The size of the image within that is a matter for your own discretion, but it must fit within the overall dimensions or it will be disqualified.
Competition Rules can be found on the club website:
http://www.reflexcameraclub.co.uk/ under ROC on the banner or by typing http://www.reflexcameraclub.co.uk/#!reflex-open-competition/cm27 into your browser.
And so to the bit you’ve all been waiting for ………
RESULTS DIGITAL PRINT
“Porth Beach At Dawn” – Simon Caplan
“Severn Sun” – Julie Kay
“Not Quite A Pair” – Simon Caplan
“Going Fishing” – Eddie House
“I’m Vegetarian” – Julia Simone
“Weighted Down” – Julia Simone
Digital Projected Images
“Looking” – David McInich
“Nunney Castle” – Richard Price
“Smoke Gets In Your Eyes” – Eddie Deponeo
“In the Spotlight” – Chris Harvey
“Foggy Morning” – Eddie Deponeo
“Prague Castle” – Julie Kay
“Yet To Bloom” – Roy Williams
“Pokhara” – Julia Simone
“Victorian Tea Break” – Ian Coombs
A N N O U N C E M E N T S
Sunday – The Reflex Annual Photo Marathon. 10 images in order, on 10 topics, 4 hours!
23rd May 5pm at the M Shed – Simon Caplin is giving a talk on the crafts based photo-project he has been involved in. Be there to give him some support. Tour the rather good Industrial exhibition before hand, you know it makes sense!
Next Meeting – Ann Cook FRPS: “Granny Goes to Glastonbury” a two decade evolving project.