May 31, 2017 at 8:38 pm #14302June 1, 2017 at 9:02 am #14309
Just as a reminder of what is required for the photobook here is John’s original note. Please send full size images to the photobook link below and smaller resized images to this months theme. Resize them to something like 650px on the long side at 72ppi.
“Sharon is also arranging for the editing and printing of a Photobook to celebrate your work and we are inviting you now to submit THREE photographs. Upload them to the address John provided (this will be sent again by email soon).
Full size jpegs please, sRGB. We only need the titles. You are not restricted in any way as to what you submit (assuming it is fit for publication and you have copyright), we are not expecting a selection of your most successful competition pictures – perhaps you will pick shots that characterise you rather than please judges! We will also like to have a few words about you too, so you could upload that as well, as a Word file. There is no need for a lot of personal details (you will not want to do that anyway) make comments about your chosen pictures or your philosophy of photography to explain your approach. The plan at present is to have a double page for each member and have the three pictures and the text within that double spread.
We have not tried uploading big files before but I am expecting that Dropbox will take all four files at one go. If you have to load singly, don’t worry, your files will be in the folder.”
June 2, 2017 at 2:29 pm #14314
- This reply was modified 1 year ago by ajroyle.
What is going to happen to the book when completed????????????June 3, 2017 at 6:17 am #14315
Here’s the three examples I’ve submitted. Why have I chosen these photographs, which are not at all the sort of pictures that do well in club competitions? I’ve become intrigued by how the camera make things look — by how ordinary people and their activities and other bits of reality are transformed within the frame of a photograph into something more interesting, more strange, more intriguing, more beautiful or more dramatic. (And I’ve stopped giving my photographs descriptive titles, so that viewers are free to make their own creative, imaginative sense of the various possibilities they find in the pictures.)June 6, 2017 at 9:15 am #14319
To answer Ken’s point – it will be available for people to purchase and a copy will be in the club archives. We could send one to the L&CPU but it will not beat what Christine Widdall has just done – a history of Oldham PS, available on Amazon. Still, it will be ours.
My choices were a bit delayed because I just had to include The Pink Bicycle and it took some finding!
This time there is no Photoshop work on it – it was first “created” in those sad days when we felt Ps was there to make our Photos as simple to perceive as possible, and even to “make” pictures. All I’ve done this time is suppressed the top left a bit; so the fag ends, puddle etc are all there to see – as there were in real life! A true indexical picture.
Newer members will not know that this was a signature image for me and a number of members got together at the end of season and made an AV presentation using it as a theme, set to Queen’s “I want to ride my bicycle” as a thanks for my club work that year.June 6, 2017 at 10:53 am #14321
I think the above photographs are excellent choices for the book as they show that we all have our own individual styles and it’s not just about creating a photograph that will do well in a club competition. We all takes our photographs because we like what we see. If they please a judge as well it’s just a bonus. It shows the wide variety of skills and styles we have in our club.June 6, 2017 at 11:33 am #14322
Yes, indeed. You could spend a little time putting titles to Ian’s three – he hasn’t, and that is the point. If you could adequately describe an artwork in words there would be no need of the artwork.
You could hardly have a better praise for your work than this – quoted from a paragraph in the Guardian obituary for James Ravilious in 1999 – “The results are compelling. Time after time a Ravilious photograph brings out some aspect of our common humanity. Each photograph is intimate in the sense that the observer is drawn into a relationship with both the subject and the photographer. His pictures resonate with integrity and spiritual power, conveying, just like a great painting, so much more than the subject they ostensibly portray.”
I am not against titles per se by the way.June 6, 2017 at 8:49 pm #14325
I found it very difficult to choose just 3 photographs for the photo book. The ones I’ve chosen represent what fascinates me about photography.
‘Venetian Blizzard’ was taken in Venice during on a cold dull day when it was snowing. I was just watching people rushing past the snow. I liked the reflections, the scene and the background so used a slow shutter speed to create a blur to capture the atmosphere. I framed the shot and waited until some people entered the scene them took the photo which I thought worked quite well.
‘Winter’s Glow’ was taken in Quakers Coppice, Crewe on a cold misty morning. The colour of the leaves caught my eye against the dull sleeping coppice. To emphasize the colour I colour popped it in Photoshop and converted the rest of the picture to monochrome.
‘Keele Sunburst’ was also taken locally and I love the impact of backlit object. the shadows give depth and impact. I just waited for a student to enter the scene and then released the shutter.June 6, 2017 at 11:33 pm #14327
Peter >>> You do a great line in contra-jour photographs like ‘Keele Sunburst’. But I have to say that I think ‘Venetian Blizzard’ is one of my favourite Crewe Photo Soc photographs ever – I just love the rhythms of the leg-positions of the people walking left-to-right in the frame, and the balance produced by the lampposts and people on the right – and the umbrellas. And the blurred snow is just icing on the cake. A wonderful ‘real’ photograph in every way! (I wish I’d taken it!)June 7, 2017 at 8:34 am #14335
I agree on Venetian Blizzard and one had a feeling of there being hope yet when it won the mono print section of the L&CPU Annual. The other two choices are good too, especially Keele Sunburst which characterises Peter’s brave approach which he often takes to framing and trying new angles. So, good choices because they typify his work.
My other two are ….
which I will not change. The other, well, I could change my mind…
especially since I cannot seem to get the print upload routine to work on a second one!June 7, 2017 at 8:36 am #14336
The other is…
Strange, couldn’t get the uploader to accept a second image on my previous post.June 7, 2017 at 9:31 am #14337
Wonderful landscape, John – like an 18th century painting with the single figure at bottom left. It has a wonderfully spacious atmosphere, and a timeless quality (not a little enhanced by the sepia tone). The seascape, too, is beautifully composed, and conveys both the power of the elements and the ultimate precariousness of human efforts to resist it.
Terrific examples of your skills.June 7, 2017 at 10:22 pm #14338
Thank you very much Ian and John for your kind comments. I’m really flattered. The Venetian Blizzard photo just came together nicely. It shows that even in drab conditions you can still get a decent photograph.
I really like John’s last two photographs. I echo Ian’s comments on the landscape photograph completely. I find the composition quite intriguing.
The seascape shows the power of the mountainous sea well and how it threatens the fragile looking building on the promenade. The moody sky finishes it off.June 9, 2017 at 10:47 pm #14343
You’re probably thinking of Claude Lorraine, Ian. It does have that look and I think Turner classified the landscapes which included people as Historical but, in any event I do like to feature people – here they make the tree look even more grand. The guy walking is in a good position, and the two people on the bench are looking out over the incredibly flat shoreline, just as you should do. The unbelievable luck was that cloud! How near to a copy of the tree shape is that? It just completes it so well – and the judge didn’t even notice! I do like it when the clouds are a feature, when they complete the image in the sense of visual design, but it should be subtle – there is too much over-processing of skies, they then become overbearing and oppressive. I would never “put a sky in” using Ps – very difficult to do convincingly anyway. Darkening the sky a bit is another thing – the sky is often over exposed of course and rendered too light in the majority of cases.June 9, 2017 at 11:05 pm #14344
I think I might have been reminded of the way Watteau puts a few small figures in his landscapes to emphasise the vastness of the space. But as you say, other painters use the same device.
The cloud is a very pleasing touch, too.
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