10 topics all to be presented sequentially and only four hours to get it all in. A huge club thanks to Julie and Ian Coombs for organising this again, a great way to spend an afternoon, a challenge to your observation and demand on your photographic skills. The results, by category, were decided by member popular acclamation and are as follows:
Category : Your Entry Number. Winner was number 6 by Darren James
Category : Out of Place. Winner was Myk Garton
Category : Time. Winner was Myk Garton
Category : Hand Made. Winner was Ian Gearing
Category : Movement. Winner was Ian Coombs
Category : Connected. Winner was Darren James
Category : The Seven Deadly Sins winner was Steve Hallam (Lust)*
Category : Up in the Air. Winner was Kevin Spiers
Category : Retail Therapy. Winner was Mikie James
Category : Song Title & Overall best of the best was – Ian Coombs with Life on Mars.
* This category was more of “The pick of a bad bunch” than a theologically dodgy serving suggestion and the club dissassociates itself from any explaining you have to do.
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.
Matthew Lord adjudicated round 3 of the 2014-2015, and the number of entries this year are well up on last in both print and digital categories. Quality is at the very least as good and I think this shows growing confidence within the club which itself is growing at a steady rate. If you haven’t put anything in yet, give it a go, you have nothing to lose and some feedback to gain to give you a start to think differently about your images. A club thanks to Matthew for his lively feedback and congratulations to those commended and placed.
Matthew talked about the way we look at a picture instinctively, though I would say culturally instinctively, because not all cultures have the same relation to space and the expectations of the artistic placement of objects within it, though most human’s seem to start top right when looking at an image. The brain discriminates (and tells you blatant lies, but that’s for another day), the camera cannot. The human eye/brain is not the same as the lens/sensor combination. Henri Poincare pointed out that the notion of space must be understood as a function of objects and all their relations, in photographic terms you can’t have an image without objects set in relation to each other. It’s often been reported here that our judges and speakers say that the photograph should have only one story to tell. The simpler the shot the more impact it is likely to have.
Yes there are composition rules, we have frequently referred to the thirds, fifths, sevenths and the “Golden ratio”, but composition (long video but very good and well worth putting time aside to watch), the punctum and the studium, isn’t restricted to this. Nor do they rule out simplicity. Simplicity comes with the fewest elements required to tell the story. Backgrounds can be problematic. They can give context, depth, even a certain tone. They can also provide too much information, confusing the subject with what it is set in, providing unfortunate growths like telegraph poles or trees. It isn’t always possible to pull the subject from the background, for example when using a long telephoto focused at infinity at a foreground subject which is far enough away to register the rest of the foreground sharp. Nonetheless, as a general guide and something Matthew picked up on more than once, your image rarely suffers from it and the tighter you crop the more impact your main subject will have.
Colour blocks can also make effective compositional statements. True individual tastes, perceptions and experiences affect the particular effect any given hue has on a person, but large blocks of solid colour in an image will almost certainly have an impact on the viewer. Blocks of complimentary colours can also have a powerful effect, think of the colour wheel and how colours interact. Again framing is an important factor in boosting impact.
Even if cropping the final image square, a personal favourite, the middle should be avoided, usually. This is because it is easy to unbalance a picture by making it static for the eye. The eye needs to move around the image for the brain to engage. By creating an off centre interest the eye will be drawn into space as a secondary motion. A fore middle and background is much stronger than a one or two element image. The eye looks for sign posts for direction and interest and will move long the former to stop at the latter before moving on. Lead lines are thus a very powerful element in composition. To work, however, they must all be a part of the story, or the eye will wander and the brain become confused as to what the story is (part of the reason is because the brain has an operational necessity for lower power consumption and so pre-programming certain reactions saves time energy and processing power, a little off topic but if you’re interested see Daniel Khaneman). Of course this can be played around with. Parallel lines can be a very bold statement, especially if shooting with a wide angle lens, even more so with a bit of Dutching
All in all a fascinating evening and again, thanks to our judge Matthew Lord and to Mark O for his efforts and everyone else involved. A gallery of winners will be posted when available which we are unable to post for technical reasons.
A N N O U N C E M E N T S
Next week – Medieval Combat! http://www.medievalmartialarts.co.uk Club members Ian Coombs, Danny Thomas, and Antony Bezer are bringing their mediaeval martial arts group to the club tonight for our latest practical session.
** Bring your camera & equipment ** **IMPORTANT** If you are attending this meeting you need to be aware that there will be rules set in place for your safety. ANYONE breaking those rules will be asked to leave the meeting immediately.
When: 19:30-22:00, Thu, 2nd April.
9th April: WCPF travelling critique. A show of the entrants to the WCPF salon.
16th April: Club Battle with Backwell. This year at Backwell. See here for further details from Gerry: Backwell Battle.
David Southwell ARPS, AFIAP was our judge for the creative round of the ROC. A welcome return. We have had some very good feedback from the judges this year but David’s is particularly good and those members I talked to seemed of the same opinion. My starting point on feedback, and this is particular, if not peculiar, to me and I mean in general, is the point from which I can disagree and why. All this is very contrary of me I know, but I feel that the argument should stand or fall on its own merits and for that it should be clearly expressed so that I can articulate why. Of course we all have our likes and dislikes and fashions come and fashions go, but light still travels in straight lines and all the other immutable laws of physics that make up the science still apply. There are constants. We have talked before about frameworks for making judgements and the importance of consistency. His starting point that “Photography is an art form served by science” was applied throughout and his focus on the necessary technicalities of the image capture and production supporting the image as we see it was the backbone of his judging.
And what a set he had to judge. The print section was the strongest the club has presented since I have been a member and certainly other, more longstanding, club members said it had been a long while since such a strong panel had been seen. I think we have a stronger basis for inter club battles in the print section. The recent decline in the popularity of print within the club seems to have been reversed, “A good thing”. Some more please! Also the number of digital entries was up on last year, I feel. So an increase in both quality and quantity, print and digital, long may it continue.
Before we proceed to the results, may I remind members of the following competition rules:
Maximum width of an image 1400 pixels.
Maximum height of an image 1050 pixels.
Images should be resized so that they fall within BOTH of the above dimensions. It doesn’t matter if the image falls below the these dimensions on either width or height or both.
You may have your entry withdrawn if either of these dimensions is exceeded.
Colour space must be sRGB. (Lightroom and Photoshop)
This is important, especially in external competitions but also we need to implement within the club to make sure we avoid any accidents and end up having photos withdrawn from battles and other competitions.
If unsure how to do any of these things then leave a message here, or on the club Facebook page or ask at the next meeting. Someone, infact several someones present will know how to do it and I haven’t met a member yet who hasn’t been willing to help with this sort of thing. Not knowing how doesn’t matter it can be put right. Not doing does matter if your image is withdrawn.
Tears – Julia Simone
“I am In The Pub” – Ian Coombs
“Urban Fairy” – Julia Simone
“Geisha” – Eddie Deponeo
“Let’s Pray” Eddie Deponeo
“Bulb in Bloom” – Jo Gilbert
“The Competition Judge” – Ian Coombs
“Haunted” – Ian Coombs
“Baja N Rap ” – Julia Kaye
“Eye at the Key Hole” – Simon Caplan
“The Ghostly Tree” – Simon Caplan
“Talons” – Mark O’Grady
Congratulations to all these Laureates and well done everybody for a particularly strong set.
U P C O M I N G E V E N T S
From Mr Gerry Painter, summaries of the next couple of Events at Chez Reflex. These are participative SO PLEASE READ AND TAKE PART. The club only works when you do.
19th February: A NEW club feature – “Your Picture Your Way” on Landscape and Street/Candid details here – RCC EVENTS Feb_19_15 YPYW Landscape_Candid
26th February: PRACTICAL: – for our entry into the Kingswood Salver. Details here 26th Feb Practical Kingswood Salver (1)
F8 and Be There.
I have found a temporary (I hope) work around to the image problem and here, as promised are the winning entries: