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.
Light painting, the more advanced bit, with guest Tony Cullen and our own Myk Garton and what an evening it was too. Lots of good stuff going on and some special images. It showed us that some forethought and planning, lights from various sources and a willingness to experiment and you can get some very interesting results. On the cheap too. With virtually no DIY skills you can come up with a variety of home-made or shop-bought resources (usually a mixture of the two) which can have some very interesting effects. Thanks also to Mark for another of his ladies-in-boxes, odd hobby but there you go, this one very shiny. Members can see results that have been posted to the club Facebook page and the club Flickr page is always worth checking out, of course.
As we have previously circumnavigated light painting over the course of this blog, and you can get as detailed as you wish with it, there are plenty of articles and videos to watch out there, we will do a little tour of a couple of things that caught my eye in the photographic press this week. Basically I am going to take the bullet points in an article that chimed and try and get the great photographers to comment on them. With a little bit of commentary by yours truly.
There were two articles on Petapixel, taken from different perspectives of the photographic experience, lessons learned from a new-to-it and someone who had been shooting for 15 years (professionally). The one I am going to take up is the newbie, by Marcus V Petri, worrying that, after a year and 5,000 frames, he is not making the progress that he thinks he should ” Your first 10,000 photographs are your worst“. – Henri Cartier-Bresson.
This is an interesting point as it speaks to “keepers”, which really is the point for everyone, is it not? Part of being a professional, or even a more experienced amateur, is taking very careful control of what you let be seen. This will be a tiny proportion of the shutter actuations. He writes “I’m the type of person that takes hundreds of pictures at slightly different angles and then I chose one that is best. I envy those who just go there, take one great shot, and done”. I am sceptical of those who just go there, take one great shot, and done. There are two ways this happens.
One is dumb luck, possibly moderated by having learned from the past and is never consistent. The other is from a rigorous and time consuming planning and execution process that takes days, weeks, months possibly years. Or you have a battery of assistants who do the spade work and you turn up and press the shutter so that it is “your picture”. Some very expensive photographic workshops run like this, making everything feel seamless – a huge amount of work before and after goes on to make it this way – just so that the client goes away with great shots – also some light painting sessions I have recently attended – which may or may not be down to the quality of the tutoring but is the whole point of the business. The one shot idea is actually corrosive to learning the craft, the idea that you take the one great shot only, then what do you do? “Everyone will take one great picture, I’ve done better because I’ve taken two” – David Bailey. Ansel Adams was a little more generous: “ Twelve significant photographs in any one year is a good crop“.
“There is no such thing as a ‘non-processed pictures.'(sic) Every picture is processed, even the analog ones. Even your eyes process what they are seeing”. As I have expressed the same opinion many times in these posts I can hardly aver. “ You don’t take a photograph, you make it“. – Ansel Adams or more philosophically: “The magic of photography is metaphysical. What you see in the photograph isn’t what you saw at the time. The real skill of photography is organized visual lying”. – Terence Donovan – Guardian (London, 19 Nov. 1983) Or as Bailey put it: “It takes a lot of imagination to be a good photographer. You need less imagination to be a painter, because you can invent things. But in photography everything is so ordinary; it takes a lot of looking before you learn to see the ordinary“. “Face,” (London), Dec 1984.
Actually, in the second article I referred to a very similar point is made: “A photo is an extraction. It is a simplification. It is reality seen through certain limitations. It is those limitations that make a photo. Four straight edges and a 2D simplification of reality. You need those limitations to make this an art—if you are trying to 100% capture reality you are not taking a photo and it doesn’t make sense. A photo is a haiku. 17 syllables and done. Without those walls, you’re lost. So embrace the walls and find a way to express everything there is between them. There will always be something outside the walls, but that’s okay too. Do what you can and that’s all you can do“. Patrick Beggan, Petapixel.com, 5 Dec 2016.
“You and the people you know will usually prefer different pictures. My favorites (sic) are rarely my most popular photos”. “There is no special way a photograph should look“. – Garry Winogrand.
All in all if you take the two articles n comparison you can see two poles of the same journey, in some ways. We all do this journey, it doesn’t matter how many years we have been doing photography if we are serious then we will be on it. It doesn’t have a final destination we are always at a way station somewhere towards the last frame we ever take. Good to see that we are not alone though.
Quotes from www.photoquote.com
N E X T M E E T I N G.
R.O.C. Round 2 judging.
I have spent some of your generously donated time over the last several posts talking about the appreciation of an image and in trying to encourage wider participation in competitions. Talking to other people in some other photographic clubs and indeed, some remarks Peter Wheeler made in one of his visits to us this season, there broadly seem to be two focuses: the competition focused clubs and the participation focussed clubs. These are not two mutually exclusive categories, sensibly there cannot be one without the other, but it is the way that the mix of the two is dealt with that determines the nature of the club. BPS, for instance, appear have a set of images that they use for the many competitions that they enter and they are a very successful club. Dorchester appear similarly disposed, and these were the top 2 clubs in the WCPF 2013 competition. We are more participation focussed and either way there would be no club if it were not for its committee. From and on behalf of the floor, thank you. Last Thursday we had our AGM, which had a reasonable turnout by any club standards that I have been to on whatever topic (not a huge number I will admit). There was: discussion of important topics to the club; consumption of tea, coffee and biscuits; reportage on the path of the club; efforts were lauded and decisions arrived at democratically. Overall, I would judge it as a success because people got involved.
Ruth, Mark O and Dan E were voted onto the committee in the posts of Club, Competitions and Events Secretary’s replacing Julie, Ian and Hanneke at the end of the season. A great deal of thanks is owed to the outgoing members for their considerable parts in making this a successful club and thanks due to those incoming for the prospect of its continuation.
The topic on which we were most exercised was that of the competitions, specifically the format and most particularly the lack of and diminishing numbers of prints being entered. Firstly I will hold my hand up and, as a distinctly novice member, admit I have not entered any physical prints in any of the competition rounds this year. Indeed John P. has been the only consistent entrant in this category and thanks to you John, because the novice print category is an issue not a dead letter. There is a decision for the committee to make about whether the novice category continues into next season for reasons I have blogged about previously, but, in essence, boils down to the fact that the border between the two has become increasingly blurred. There is a but and a very important but so worth flagging: this may become a self-fulfilling prophecy i.e. those who enter are benefitting from the feedback and those who are discouraged by the perceived gap between their own and others efforts remain so and do not enter. The reasons were discussed why this is so, the general lack of prints, and reasons included “Faff” (a general term for producing something the individual thinks not worth the effort as measured by the return), time, space, and additional cost – travel (time cost) being the chief issue when using Keynsham Photographic (KPC). As Mark S. pointed out, as part of a different point but one that applies in general, you can’t eliminate the category and still compete – i.e. digital projection only. Yes I know Zen Photo is web based, but they meet physically four times a year and they compete as a club.
Competing is a core value of our club, but it is not the reason for it, in my far from humble opinion, participation is its life-blood but we have an imbalance at the moment that needs to be addressed and that is getting more people involved in competitions in general and in prints in particular. It is getting you involved in competitions in general and in prints in particular. Yes, next season I will be entering the print competition regularly, a little late for New Year resolutions I will admit, but then they are hardly worth making the effort over if you have no intention of keeping them. I have every intention of keeping this one (and only). The ease and relative speed of entering the projected is not in dispute, but the experience of producing and mounting a print is far more tactile and gives a different perspective as Mark O. attested.
So, 10 questions to ask and my own answers (in brackets). The only permissible answers are Yes or No because anything else is a No, all dressed up with nowhere to go:
- Did I join Reflex CC to become a better photographer? (Yes).
- Is entering the club competitions a positive part of this? (Yes).
- Have I learned anything by looking at the entries and listening to the feedback? (Yes).
- Am I looking at photographing subjects differently than before I did this? (Yes).
- Does that effect the way I take photographs? (Yes).
- Has the overall effect of the feedback been positive? (Yes).
- Is there room for improvement? (Yes!).
- Would entering my own efforts personalise the feedback? (Yes).
- Have I made the best of the opportunities the competitions have presented? (No).
- Does a lack of trophies mean I am no better for the competition process? (No).
If anyone of the first 8 is a yes, then there is a personal gain to be had from you entering the competitions. Logically, enter. Logically enter both projected and print. As for the self imposed quality issue then I would point you to the observation that, even in the Olympic 100 meter sprint final, every athlete is not running against the other athletes because they cannot maximise their own performance against them and run their own race. The things that they can control are the things that are in their own race i.e. they are all running against themselves and their own limitations. Same for us in club competitions. And you don’t have to be a “photographer” to contribute to photography, anymore than you need to be a writer to contribute to the essay form. You just need to plan, do and review to get better.
There are a number of questions that might arise surrounding prints, and the first one is, “What size file does it take to make a good photographic print?”. For Reflex CC competitions the mounting card dimensions are exactly 50 x 40 centimetres (roughly 20″ x 16″) and the image can be any size up to that. The decision is yours. The competition form has to be filled in as with a projected image + a digital copy of the image also has to be submitted. This latter part helps with the blog when publishing results and the catalogue I have done with the last couple of rounds and will continue to do as long as its viable. Rather pointless having an empty space where a winning entry should be. So back to the size of the file. If you have bought a digital camera in, roughly, the last 10 years, you should be OK. KPC say that the jpegs they use are to be 305 PPI (pixels per inch) and you can do this through image scaling software (Photoshop will do it, ditto Paint.Net so will GIMP)
Part of the problem I have with the print section of the competition, I admit, is that it is more difficult to see and remember what is which when it comes to the feedback. The big, vibrant projected image is a different experience to the more tactile, focussed print. I sit at the back of the room, I know, but that is so I can use the light to write my notes. This rather puts me at a disadvantage as compared to the projected images, given that the optimum viewing distance is usually given as a 1.5 or 2 x multiple of the diagonal of an image – making a 16 x 12’s prints optimum between 30 and 40 inches (76 to 101 centimetres), though time can be spent walking around, looking at the prints close up. Therein lies a very important point. The relationship between the viewer and the image is different in a print than it is in a projected image, we react differently to it. It isn’t just a question about which is better, because the answer depends upon the context you are viewing it in. The photo-marathon was as much about moving around for the viewing as it was in the taking. The Interaction was different. Broaden your experience and double your chances of constructive feedback by entering both parts of the competition next season and keep practicing by entering the Flickr competition until then. Maybe we need a Flickr evening?
As an evening a very successful AGM. This is a vibrant and happy club to belong to, made so by its members. Yes we need to expand our competition base but that is something we can all contribute to. I look forward to the rest of the year.
NEXT MEETING – Practical, bring your camera and as it is product shot time, feel free to bring a tripod if you have one and anything interesting you want to photograph. Very successful last time, you will probably have some competition entries among these!