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)
Slight change this week. We are introducing an occasional feature of blog postings from members, which though they will go through myself as editor are their own reflections on the art and how they go about it. To kick this off we have Alison Davies talking about her winning ways with national photography competitions. Copyright text and Photo’s Alison Davies, please respect that.
So, Alison, over to you …..
External Competition – Have a Go?
Seeing as I have been invited to do a guest blog on any subject, I thought it might be of interest to fellow club members to write a little about entering external photograph competitions. I am not talking salons and prestigious photography competitions for amateurs and professionals which are usually known by a series of letters, BPWA, TPOTY etc., I did look at these once but I really don’t the like thought of paying to enter.
I find external competitions to be very different to that of club competitions, far less stress involved, simply upload a photo to a website and forget it, as long as you have taken all of the terms and conditions into account – but more about that in a bit. They could be in magazines, newspapers, displayed in public buildings, on leaflets and online.
Of course, with an external competition you don’t get to see the panel reviewing images, their likes, dislikes, what’s good, what’s bad and often they will be selecting images from a commercial angle, but not always. I for one although having many years entering club competitions, can honestly say I am still uncomfortable sitting whilst a judge praises or gives a damning report on my efforts. I think that’s why, I am easier with entering online competitions and in doing so, I am entering photos I regard as fitting the bill of the brief or images I am happy with, in the knowledge that I won’t be pulled up publicly for a bit of burn out (sometimes it’s intentional), or not obeying the rule of thirds (some subjects are so strong they just have to be placed central) or other such critique which I will be aware of in advance but chose to display my image that particular way, as quite simply, I like it like that. Incidentally, no criticism of most judges intended, they have a job to do and we have all learned from the good ones in the past, however there are a few doing the rounds who in my opinion, should stay at home.
It’s pretty widely known, I have 2 dogs, Otis and Bazil, who are very much adored and it’s fair to say I spend lots of hours out with them in some very beautiful places. This is a win, win, situation for me due to my love of being outdoors and seeing my dogs enjoying themselves running, swimming and more often than not, getting mucked up – ‘the mucked’ up has proved advantageous in competitions.
Probably the same as most of you, when I am out, I always have a camera to hand and something that truly excites me is getting to see every season and what it brings. Each year I look forward to snowdrops, followed by the wild primroses, then bluebells. Shortly after I am eagerly awaiting the lighter evenings when I can once again walk in wild flower meadows, where if I didn’t have the dogs with me, would be a great opportunity to photograph butterflies, birds and insects. I have long given up on little creatures now, so many times with camera perfectly aligned ready to snap, one of the dogs comes bounding over and winged thing takes off! So cut a long story short, I have quite an extensive stock of photos of nature, wild flowers, trees and of course dogs – but a slim range of insects and birds.
My first competitions wins were very surprising, I never entered expecting to win anything, a friend said, “Here’s a competition you should enter”, so I did. The Orivs company runs a competition to find an image for their Dog Book cover each year, and I won with a photo of Otis. This was really exciting as Orvis told me they have a huge amount of entries and the photo was on their catalogues in UK and the US – my little Otis was their cover dog for 2014. The prize was a £500 Orvis voucher.
The same year, I came runner up with 2 photos in the top 10 in a Crufts photo competition with one of their main sponsors winning a camera phone but much to my horror had to attend a prize giving with celebrity and press (not that I knew who the celebrity was). The following year, I was runner up again with an image in the Crufts competition and with another dog company for another. It is a great feeling to see your photos displayed large on light box panels at such a prestigious event. Some of these companies have huge exhibition budgets and really do spend on their display graphics.
Since then I have had an article with photo published in the Crufts magazine, as runner up once again and won in other photo competitions which most of which are dog related, 2 pairs of top of the range boots in separate competitions which I wear all of the time and really wouldn’t have spent that much money on myself. 2 Barbour jackets and bags, really thinking hard about what I have been lucky enough to win. I have won hampers and other dog related products, which I donate to a local dog charity in order to boost their fund raising efforts – nice prizes can mean people attending events will spend more of raffle tickets if there is a decent prize on the table.
During 2015, a photo of Otis and Bazil on a beach won a place in a country style magazine’s calendar for 2016, winning, ‘Pet’s in the Countryside” category, 1 of 12 overall (1 from each category) to get a photo against a month and more prizes.
Then more recently, I got an email saying that I was a runner up in the RSBP calendar competition for 2017. Only a little while after, I had another email saying I was the winner which was totally unexpected as it was a wildlife photo competition, I know that there are some brilliant wildlife photographers about who are very passionate and extremely good, in fact we have some in Reflex. The prize for this one was £500 worth of Canon product, a VCR and a compact, they will shortly send through some other bits of merchandise which will feature my photo as they prepare stock for 2017 in their shops. It was lovely to win this competition as I know my photo will be working for the RSBP to make money for their charity on calendars and merchandise.
The RSPB leads me on to a few hints and tips to hopefully get some of you looking out for competitions and submitting some entries. My first tip would be to imagine you are back at school entering your exams, read the rules and terms and conditions, then read them again. If you don’t take on board exactly what they are requesting, that’s your photo binned before it’s got anywhere. It could be orientation, size – anything and everything.
Next, I would say, remove club competitions from your head completely, take time to think about the brief and think what it means to you. Remember, think about the company or charity and what it represents and make a photo choice to complement this. Think more commercially, what type of photo represents the brief and would it look good advertising their product? Does it have a wide appeal?
Now for the really important part, within the terms and conditions, there will be text stating what the company will / can do with your image. Careful, as this (and here’s the really cheeky part) can mean that it doesn’t matter if you have an image placed or not, by entering a photo, you are agreeing to the company using that photo for anything they choose, having automatic rights (and sometimes editing) and reproducing without credit to the photographer. They usually state an amount of time, for example a 3 year period. Not all companies do this but some do, therefore it is really important before you hand over your work that you know what you are signing up to. Often it is asked that the photos you enter are exclusive and not entered into any other competition or have not won other competitions. Bear this in mind if you can enter 3, this may exclude you from entering them into another better competition which comes up later!
It can be said that this is a cheap way of companies gaining extra advertising and cheap images although if you win, some prizes can be quite high value and of course it’s fun. I try and weigh up if I submit an image, it’s worth it – would I want this photo for anything else in the future? Most of us have stacks of images just sitting on hard drives, so often giving it over isn’t overly important, but think about it first.
Watch out for photo thieves too, upload images (unless otherwise instructed) as small as you can get away with, ensuring the screen version still looks good – unless the rules stipulate a set size.
Competitions which offer good prizes can specify professional photographers are not permitted to enter, when they do, they will usually offer their interpretation of this so that it is clear. Generally, the ones that I have entered stating that more than half of income/earnings must not come from photography, but this is individual to each competition.
Keep a file with your entries in, something I now do, earlier in the year I was contacted as a runner up and asked for a large file, all a bit embarrassing as I really didn’t know what photo I had entered and had to ask! This also stops you entering the same photo in different competitions, which is fine once the competition has ended and you have not been placed (subject to T & C’s mentioned above).
Finally, If you enter and at a later stage receive an email stating you are a runner up and requesting the large size image prior to the final judging, in my experience, it’s good news.
I hope this has inspired some of you to have a go, it’s fun, free and couldn’t be easier these days being able to upload online.
To start you off, there should be a category of interest for most people in the club, why not try this one, it was the competition I got a placed in with the photo of my dogs on the beach 2016. I have already entered for 2017, but there is still time to get some photos in and look at that lovely prize.
OK, so I am going to be honest, I am quite shallow regarding this, I don’t do it for the recognition, I really hate presentations and getting up in front of people – I am in it for the love of the prizes but of course it is very nice to be told you photo is valued.
©Alison Davies 17.6.2016
Thanks Alison that was really very illuminating. If you are willing to give the blog a go contact me at the meeting, I am almost always to be found there.
N E X T M E E T I N G
23 June 2016 19:30 Speaker: Peter Phillips: “A Photographic Journey” From Image Scientist to Photographer
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.
Last meeting at Portishead Camera Club along with North West Bristol Camera Club for a thee way battle and I am glad to report that Reflex showed a strong foundation – we needed it to prop up the other two, higher scoring, clubs. That said it was very close, 6 points adrift and a tie break for the winner (Portishead), but we won the most raffle prizes! Victory!
Our thanks to Peter Weaver for his supportive judging, to Portishead our hosts, and to North West Bristol for a fine show. It was a high scoring event, the club’s been to other battles where our score would have been a winning one over the last couple of years. The number of members whose work was shown has grown beyond a small core and is gradually expanding. Our travelling support was just under half the room, so lots of signs of a healthy club. Long may it continue.
There were some particularly strong wild life pictures, as good as I have seen in any of the battles I have been to and a good deal stronger than some. Two outstanding shots from one of the NWB members took individual prizes, one for overall and one for digital. It’s not really an area our exhibiting members cover extensively, it is specialist in its devotion to time, its equipment demands and the ability to travel, not always huge distances to be sure, but Cheetahs aren’t in abundance here abouts, and for Egrets (Cattle, Small or Great White – yes I did have to look that up) you have to know where and when to look. You also have to develop the right habits and techniques. That said the overall winning image was a print was of an Exmoor pony, I’d say good enough for National Geographic (but that may be no recommendation at all), so not so inaccessible to a lot of people here in the West Country.
There are strict rules when it comes to wildlife photography and competitions. What is and what isn’t counted needs to be studied by would be entrants and there is a strong code of ethics (even if something is occasionally lost in translation) governing the acceptable face and reputation of the genre. The object is to record and preserve, some considerations that apply to our discussion on documentary photography last week and, just as in documentary, empathy with the subject goes a long way to getting the shot.
We all, though have to begin somewhere. Most of us will not start with the idea or the funds to kit ourselves out as wildlife photographers from the off and it can take some time to settle on a favourite genre. Even then it is likely to be one of several that we try out or practice. It also takes a lot of that practice thing, as does anything else to become good at it and as with every other genre in photography, the kit itself is not going to make you a photographer, it just helps those with the skill, time, patience, empathy (and money) get a small but slightly better chance of getting the shot and of the equipment surviving the experience. In wildlife photography those margins are often small.
But the journey of a thousand miles starts with a single step, at least according to Lau Zu, though he never picked a camera up in his life (they hadn’t been invented), and starting with what we have, then progressing as confidence and expertise grow into those areas where the margins make sense – photographically and financially. Lau Zu also had something to say about what he saw as hollow practices, those he though got in the way of spontaneity and true growth and in developing as a photographer there is some truth in that. All the gear and no idea is not new, it appears.
There are, of course, rules that port over from other areas of photography, such as: always focus on the eye from portraiture; dawn and dusk (though for different reasons in general) are the best shooting times from landscapers; be aware of the background from everybody. As always though, knowing your subject gets you a lot further than dumb luck. Starting with an interest in nature is the obvious, but that interest has to go beyond the pretty picture thing. All good pictures tell a story. That story may differ slightly (or even wildly) between viewers, but there has to be one to be extracted in the first place. You need to get beyond sticking the lens through the bars of the zoo to a point where you can anticipate your subjects next move. You don’t have to become a wildlife biologist to do this but you do need to learn the language and manners of your objective. You need field craft. You have to have the curiosity about it to develop the empathy we were talking about above.
OK that is the same for most types of photography. There is a field craft involved. With wildlife there is a more unpredictable element to account for and the more you know about it the more successful you are likely to be. That doesn’t mean that an intimate knowledge of sparrows transfers to the behaviour of grizzly bears. The differences are not only those in scale. The difference can be you removing a stain or being the stain. Outside of zoos and safari parks this isn’t a problem in the UK, of course and inside the environments are pretty controlled – but there are morons everywhere. The basic point is the same as the oath doctors take. First, do no harm. That takes knowledge too.
N E X T M E E T I N G
Robert Harvey: Landscapes for all seasons.
Last meeting was the Annual General Meeting, where an account of the club was given over the last year and the committee reconstituted. Mark Stone and Dan Ellis stepped down as Social and Programme Secretaries to be replaced by Chris Harvey and Gerry Painter respectively and Jo Gilbert stepped into Gerry’s spot on the programme sub-committee. Otherwise the committee remains as was. The committee is the glue of the club and its heart and the club is in general good health so our thanks as club members, regular and irregular, for all their efforts. Ruth will post the minutes in due course.
What do you want from your club? We all share a love of the craft or we wouldn’t join a club, would we? Maybe there is more to it than that, but the fact is the more people become actively involved in the club then the more that club can do and everyone can exercise an influence. We have a strengthening competition base, and that is as much made up from the new members as existing and this is supported by the broad spectrum of speakers who relate their experiences and their expertise. Practical evenings, events and gatherings have proved ever popular – we invest in the kit to use it after all. Our membership numbers remain stable and we have a broad range of backgrounds amongst it. All in all we have solid foundations and a strong upcoming programme. We have 6 competitions in the year (4 rounds of the Open, a creative round and the trophy round – which is next week), not as many as some clubs but then there are issues about competitions and whether they stimulate or stifle innovation and development (both for my money, the key factor being how they are used in the individual members development and how the judges relate to the entries and audience and whether I can learn anything from the feedback given).
In brief, the whole is other than the sum of its parts. We are all at different levels of development, have different views on subjects, kit, and whether it really has turned out nice again and we combine those things together to craft a (visual) statement. The club gives us somewhere we can test those statements against others and by others. It does not matter if we agree or not, the important thing is that we can use that feedback to inform our art. The more of us getting involved the more opportunities there are. By applying even a modicum of criticism to our images we can and do progress. This is where the combination of theory, practicals, competitions and informal gatherings come together. The club makes these things possible.
The programme we have set out from the next meeting, the John Hankin and Stan Scantlebury Shields, all the way through to July 2016 includes: practical nights; tutorial nights; speakers from outside the club and in; editing; model shoot; the WCPF travelling critique, a three way club battle; landscapes; wedding photography; a monochrome challenge and, of course, the Reflex Open. Looks like another great year ahead. We bring open minds to these and we try out what we have learned and we learn more we have more we can put into the club.
The programme that we have had over the last year has been influenced, especially in the early part, by the move from the old school to the new, which as both Maurice and Steve pointed out, went better than expected. Certainly the new premises are very conducive, even if the chairs are pew-of-the-miserable-sinner hard. Education and penitence all for a bargain price! Tea breaks can be quite accurately timed by the pained look on the faces of the audience. At least that is what visiting speakers are told. Some might wonder why a tea break is required every fifteen minutes, but still they manfully (and woman-fully) plough on till either interrupted by the conscience of whoever has introduced the evening (who mysteriously has been standing throughout) or the expressions on everyones’ faces makes it look like they are adjudicating a Wallace (or Ed Miliband) look-alike contest, so chastising are the plastic seats (of course).
The best speakers are those who adapt their material to the audience. It can be very easy to end up delivering the same thing regardless. A travelogue to the WI is not the same as a presentation to a camera club. The things they want to know are different. No the camera settings on each and every shot are not the things we want to know, unless it has been to produce a particular effect or overcome lighting difficulties. RAW or JPEG? In passing only, please, and your reasoning. If someone wants to know more they will ask you about it. Likes and dislikes? That’s a statement, not an apology, nor a sermon (despite the hardness of the seats) and, frankly, will come out in your images anyway. Give us your reasoning so we can test that against what you are showing us. Most, if not all, of us want something we can take away and try for ourselves. Equipment? Yes, that can be useful as long as it doesn’t turn into kit-pornography or an advertisement for Canikon and what difference does it make? Why can’t you take that with a kit lens? Even though the answers may be quite mundane they do go towards making up a philosophy which informs what and how subjects are taken. That is a good thing to get over to an audience of photography enthusiasts.
About those competitions. We have had a big revival in interest from within the club and that partly driven by new members which is healthy. Also, using the data from three club battles over the last 18 months there has been an across the board uplift in competition quality based on common prints and a common judge. Now, it’s obvious to all club members, when their images aren’t picked, that judges only become judges when their eyesight starts to go, but in their defence we have had some consistent judges, certainly since I have been a member, and judging is exactly that. It is an exercise in judgement against standards that make up a technically proficient photograph plus …. And that plus is made up of experience and yes, tastes (and eyesight), but the variations haven’t been huge, so fair play to the WCPF for that. Feedback, the breakfast of champions apparently, is the best we as individuals can take away and the quality of feedback can be variable, especially when faced with a large number of images to get through in a short space of time. It’s a turn around and a nice problem to have, but the committee is going to have to look at the number of images in the ratio of prints to digital to keep things in balance (and possibly source a decent supply of prescription glasses).
So, overall, a good year and with each of us playing a part, a better one to look forward to.
N E X T W E E K
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.
Philippa Wood AWPF CPAGB AFIAP, ably supported by husband Peter, took us on a tour of the Scillies and the Gower Peninsular as part of their own grand tour this week that took in Preston, Reflex, then moved on to South Wales before culminating in emigrating to Australia on Sunday (our best wishes go with them) – and that only covers the week from Thursday! The theme that stood out for me from Philippa’s presentation was detail, specifically ideas of repetition and rhythm, and I want to investigate this in the blog this week. Think of this as one of those “Making of” features film makers marketing departments flog off to television channels, where we have been charged with getting the picture that encapsulates a 90 minute film over which they can run the end credits and use as a film poster.
Our brief from the art director tells us that we will have to get all our elements together so that they are governed by a rule of composition, either balanced within our frame to create harmony or unbalanced to create tension, but governed by a single point or object more dominant than the rest to give us a fighting chance at capturing a simple, effective strong story. Detail will be the key.
Even using a planetary view, we can’t get everything in. That means that we are going to have to select. Selection is the basis of composition. Last week we talked about the extremes of selection, macro and astro, but even when taking pictures of the Milky Way we are going to have to select foreground and we have to select the correct piece of the sky. The guiding principle of the photograph we want to take is the story that we want it to tell. Lets assume that our metaphorical movie is an action thriller. The rules of composition we have visited many times. They are not the story, they are a means of supporting the story. How we make the picture isn’t as important as what we decide we are going to put in it. Compositional rules help connect with the viewer but they won’t be what the viewer takes away with them from the picture. That is a lot more complicated. We like what we know, we are challenged by what we don’t. The rules of composition are there to entice us, to engage with what we sometimes don’t know and might otherwise reject. It makes it easier for the audience to engage with our photograph when we have decided what the story of that image is – and before we press the shutter. Phillipa’s journey was expressed through her photographs and her illuminating narrative, which included showing some misfires and discussing what made them so.
Let’s approach this from a slightly different angle (always a good idea in photography). Going back to the presentation that Damien Lovegrove gave us last July. At one point he made up a wild story about the life history of one of the models in his shoot (we know it was wild because he admitted that he had made it up in order to illustrate the way we project our own experiences and preferences on a photograph). When he broke the illusion we looked at it in a different, possibly diminished light. His first two rules of taking a photograph are: “Know your shot” and “Make your subject part of the process”. OK the second one makes more immediate sense in portraiture, but could also mean getting down to the right level for that shot of the bee on the flower, picking the key feature that makes that building interesting, or not being timid about tilting the lens down to frame out that non-descript sky “…Because it’s entirely an artist’s eye, patience and skill that makes an image and not his tools” (Ken Rockwell).
Composition, then, is the imposition of rules within a frame of our choosing – basically where we point the business end of our cameras and how much of the viewfinder is taken up with what we are pointing the business end at. Symmetry is very powerful, it indulges our brains cravings for order. 50% of our brains processing capacity goes to making sense of what we can see. 70% of the bodies receptors (things that gather environmental data which the brain processes into assumptions, priorities and actions) are in the eyes. We can make sense of something we see in about a tenth of a second as a result of these two facilities. The brain takes about 250milliseconds to process and attach a meaning to a symbol – that’s why we have road signs not road memos! Colour amplifies meaning greatly in these basic calculations.
This is why, when sorting through your photographs, a very strong guide to the keepers are only those that hold our attention longer than 2 seconds. Be ruthless at this, because we will start to attach meanings to the ones we wanted to” come out better” (aka excuses) and consequently that will add up a whole heap of storage over nothing of real value. It’s like when we were seven and told to clean the rubbish out of our room – everything means something, so what is rubbish? Yes that toy is broken but I don’t want it gone, I can still have fun with it. In fact it is now officially my favourite toy etc etc. Thus, through self-deception is the Devil in the detail and we enslave Photoshop as his instrument.
But we were talking about symmetry. Symmetry we use to alter the meaning of a photograph. Think of a landscape. Where we place the horizon makes that picture about the foreground or the sky depending on where we place the horizon in a photograph. Go to your local church, especially, but not exclusively, one of the old style ones. Look at how the symmetry gives power to the space we are in. It is the same for a cathedral as it is for a parish church, just we are that much smaller in relation to the cathedral sacred space and with that comes a sense of power and structure and order (and your place in it). Look for symmetry to photograph, we will find beauty in it.
Repetition gives us predictability and in a system that has three initial responses to sudden change, flight, fight or, most often, freeze, our brains find repetition comforting, because of the predictability. Rhythm is a little more complex, visually. Rhythm is made up of visual elements that are repeated. Generally, very generally, a low number of repetitions give a photograph a slow rhythm. A high number of repetitions give an image a more intense, faster rhythm. It can be quite a difficult concept to grasp but it is an observable phenomenon. Again colour can have an effect and as club member Adrian Cook showed us back in January, horizontal, vertical, diagonal and converging lines are instrumental in making patterns to give impressions of depth and scale and effect the rhythm of a composition.
Then we come to where put these things in our frame. This is where the concepts of thirds, fifths, sevenths and “Golden ratio” enhance the ideas, the story elements, of our image. It has been said by more than one speaker and by several competition judges that the best photographs tell one story only. We do not start with these for a reason and that would be, quite simply, that if we did there would be no need to take the lens cap off to get a “good” picture as they would all be present in the pitch black. If we start with these then we are making our job that much harder. Start with the detail, the heroine of our action thriller and give her the right setting to keep our viewers enthralled. Have her dominating the situation to give our readers a comfortable feeling of control or out of balance in her situation to create tension for them. Make her the single point of dominance in action or being acted upon but always, always keep the focus on her through her allies and co-conspirators, the rules of composition.
A N N O U N C E M E N T S
NEXT MEETING: DO NOT go to the club but meet in Queens Square. Practical session, bring your cameras and be there from around 7pm Thursday 7th May.
DO enter the clubs monthly Flickr competiton, club members also get to vote on their preferences.