I’m waiting to be discovered….

I’m getting older.  I’m 61 – and fortunately in reasonably good health.  I think I’m a reasonable photographer, maybe a tad better than average, but I’ve certainly not been discovered.

I have spent my photographic life producing work in complete obscurity – well near complete anyway.  The people who have seen my work are mostly clients, then camera club folks, then the people that I can bore on a semi-regular basis.

Though this might not be ideal, I am at least, on a par with probably 99% of the photographers that I know, and that is a comfort.  There must be billions of people who own cameras, and even more billions of photographs are uploaded to the internet every day.  Goodness knows how many get uploaded just to Facebook, without thinking of Flickr, or 500px, or any of the other social media channels.  So I suppose I’m in good company.

I don’t suppose for one minute that I’m ever going to be famous.  I suspect that the photographers that I know now, who are well known, in my circles are not going to be internationally famous either.  So why do we continue? – well, I think it’s because we like to have an audience of sorts, even if it’s of our own compatriots.

Photography is expensive, it can be demanding, we push ourselves to make the best images we can, and sometimes we are rewarded with applause from our friends, or maybe a competition win or two, and this is where there is potential for it all to go wrong.  We win something – we achieve a qualification, therefore we are good, and so we should, maybe, be fighting off the adulation from our doors….  NOPE – that didn’t happen either.

Success in competition or accreditation is satisfying.  Success in the outside world is rare, and is for the few, but I’m not suicidal yet…..

Fame in the real world is not just about skill, craftsmanship and the ability to produce brilliant images (I see that every time I look at images on 500px), it’s also about chance, luck, and being in the right place at the right time.

Why for example is Ansel Adams (my hero by the way) so famous..?  Well I looked it up on Google – and here’s the theory.. He was born in 1902 in San Francisco, California. He rose to prominence as a photographer of the American West, particularly Yosemite National Park, using his work to promote conservation of wilderness areas – and there we might have it – Conservation of Wilderness areas.   He was there, producing images of the wilderness at the time conservation became a big issue in the 1970’s which is when he rose to prominence. His work fitted the situation exactly, and his hard work over previous decades was given credence because he lived and worked there, and because he had a huge catalogue of work already complete.

I’ve been to Yosemite, wondered at the majesty of Half Dome – decided to stand on the bridge that Ansel Adams stood on and get ‘that’ picture of the sunset.  Me with the 40 odd other people jostling for position, on what amounted to a small bridge.  No – you need to live your own creative life, and not try to live it through the eyes of a hero…

Screenshot 2018-11-15 14.49.27

We have no control over who likes our work and who doesn’t – we have more control over who sees our work, but we can’t make them buy it.  (It’s great when someone does though) – we cannot have any idea what will happen to our work in the future, and we have no idea if anything we have produced will influence future generations.

All we can say for certain is that our work will still be visible after we have gone, the internet will see to that, and I personally have no idea if my work will  influence anyone in years to come.  Enjoy it whilst you can…… you do not know what tomorrow may bring.

 

 

“Contemporary” Art / Photography

This might turn out to be a bit of a rant, but I’m going to try and restrain myself …….

When is Contemporary photography art?  And when does a well taken image denegrate into “just a photo”?

This question has been nagging at me for a couple of weeks now – since an exchange with a photographer online led them to deleting some comments that had been passed on an image.  I’d been able to read it all before it was taken down, but it hit hard at the art side of imagemaking, so please bear with me.

Photography is becoming an ‘easy’ target.  It’s easy for everyone to engage in – and that’s a good thing.  The hard part, I feel, is that something of a disaster is happening around us.  Cameras have become (and I quote here from another blog I read) “optical machine guns, mowing down everyone and everything with carefree abandon”.

What has this ‘freedom’ done to photographers? – well I think it’s made some of them lazy.  (I’m talking generally here, and not relating to those who curate their images, and I’ll come back to that later).  Point and push, slap on a filter, push it onto Instagram, or Facebook, and call it Contemporary Art.  Far too many photographers seem unwilling, or unable to learn – they are told on a daily basis how good they are, what incredible photographers they are – they live in a thumbs up, thumbs down world – where no-one challenges, and when they are challenged they delete the posts.  They’ve already had lots of ‘likes’ so that’s that.  It’s the difference between rhymes on greetings cards, and Milton, to treat them the same is just insulting to both.

The audience says it’s good, so the artist abandons exporation, and repeats what worked before – it requires a strong will to deviate from the norm, and explore into the unknown.  The artist has a choice now, carry on doing what they were doing, or see what’s happening, and change their view, make real art that has come from the photographer, not from the filter.

I gave a talk a little while ago at a camera club – I offered a half dozen of my images round, and asked them to critique them.  I’m thick skinned, and said that if they hated them, or loved them, that was fine, but I’d be asking them how they arrived at that conclusion.  What was it about the images that made them like or dislike?  It was a hard exercise for them.  They couldn’t just ‘thumbs up’, or ‘thumbs down’.  The comments afterwards were that they overall liked the images, (thumbs up) but the discussion in the end wasn’t about the image itself, they were more interested in how I made it in the first place – which wasn’t really what I really hoped for.

And this is what we’re getting sucked into.  It’s less about the end result (which is easy – like or not) and more about, how did the author achieved it, and what camera they used, if indeed it gets that far.

Now, I’m not against asking – I do it myself (I did it this morning in fact), but I ask after I’ve considered the image, and decided on its merits, (well, I’d like to think so anyway).

Too many people don’t edit, in the way that I understand editing.  Composition is something of an anathema to (mostly  younger) photographers.  They want to make something new and fresh – which is great – till we realise that their idea of new and fresh, is the filter I referred to earlier, and which more mature photographers have seen before ad nauseum.

Really ‘good’ photographs are never the product of laziness.  If the photographer puts in enough effort, and thought, then their images should be worthy of more than a quick look (thumbs up). It should not rely on a quick filter trick, which requires no real effort, or thought.

I am still of the opinion that if you put your ‘art’ on Facebook, Instagram, or any social media platform, you are saying to the world “look at my images”, and as a result you must be prepared for people to question your motives, and your artwork, and not get upset when someone comes along who doesn’t like what you have done.  You can’t please all the people all the time…..

Most photographers feel that their images aren’t good enough – that’s the whole challenge, frustration, and joy of photography.  We are all our worst critics, and that generally, is what drives us to improve.  I’ve said before in my blog that it’s OK to fail, it’s OK to take bad pictures, and it’s OK to apply unexplainable filters. What’s not OK, is a failure to learn, to develop, to fail to explore and engage with others who may not like your work for a reason.

And nearly lasty (and you may be pleased I’m getting to the end of what has in fact turned out to be a rant), curation.  Photographers who share EVERYTHING…. Maybe they think the world wants to know what they had for dinner, or see the 25 variations on the same picture.  Photography is like going to a restaurant – they serve you the best meals, offer a menu of choice – the menu says, this is the best this place has to offer, you choose.  They don’t show you the failures, the repetitive dishes.  They hide their junk, they paint the front of the restaurant to attract you in.   They draw attention to the good bits, and let that define them as a business.  They don’t ask you to choose between identical dishes, one colour and one black and white.  Nor do they ask you what colour plates to use.  They define their style.

So to those photographers who keep asking what colour camera they should buy (and yes it’s happening more and more), and which image looks best (colour or black and white) – I say make your own minds up….. be brave, sort yourselves out, but for goodness sake stop showing us your bad bits, stop thinking you’re amazing, and produce something that isn’t a shallow nothing with no story.  Tell a lie often enough, and it becomes the truth.

Finally, a message to the people who think that they want to make Contemporary Images and ‘not just a photo’, please think of something more creative to say……  The photo IS the image.

Than you for bearing with me.

Practice Makes Perfect?

I’ve been reading a lot this week about photography, and how we improve.  Practice is obviously the answer, but it is always?

When you go to a concert, you hear the singer, the pianist – you see paintings in a gallery, the prints on a wall.  To get this good, the artist must practice every day – to get out of form before a concert is unheard of (well maybe not always! but you get the idea)…  So when you look at images, you are seeing the end result of weeks, and maybe years of work, and practice.

I know it’s nearly impossible to get out and shoot every day, but what other ways are there to keep your finger on the button?  I think that talking about image making, talking about photography generally is practice – as is looking at other people’s work – visiting galleries – sharing images.  Even looking at images on Instagram, Facebook or even Google, is practice.  Every time you look at someone elses work, you are honing your own skills, mostly indirectly.

So, how do you practice with your camera ?  Well, there are a number of ways – you COULD just walk out the house and shoot anything and everything you see.  Is that practice, or just shooting for the sake of it?  Or, you could go on a workshop, and immerse yourself in the photographic life for a week, absorb, and create… that seems good to me… or you could set yourself a project!

A strategy is needed, and I think that the best way of learning, of moving on, is by ‘finishing’ things; and by finish, I mean print, or otherwise share your work with the wider world.  I prefer the former.  A book, a print to hang in your home, a set of images to a theme.  This makes it harder to do, but also offers a challenge to the photographer.

On the other hand, by sharing your images online, you leave yourself open to critique by others.  I’m intrigued by photographers (and I use the term loosely), who post images on Social Media, but who won’t accept that sometimes, not everyone will like them.  I like to ask people why they took an image, or why they processed it in the way they did.  The answers vary, but on ocassion, they take great offence that I had even the temerity to ask.  Why is this?

Back to projects.

As I said in a previous blog post, I used to be a one image producer.  I didn’t do projects, or even panels of three.  It was one shot, or nothing.  Since I became a member of the Linconshire Image Makers though, my whole ideal and attitude changed.  It’s taken months of talk, and work, (and nagging), but finally I’m seeing not only the results of the discipline, but I think my whole attitude to photography and art has seen a dynamic shift, and because I’m questioning my own work, I’m starting to question other people’s work too.

Within the group, it’s simple.  This is what we meet up for – we look at each others work, and work of the major photographers, and ask why this, why that, why this image, and not that one.  Outside the group, well, as I said, it’s not so easy.

I’m considering a Social Media blackout for a month or so – I need to get my head around where I want to go with my imagery, and I need to plan a strategy to get me through the winter, and maybe well into next year.  My website needs an overhaul (it’s long overdue), and I want to allow myself time to experiment more.  I’ve run through the multiple exposure sets, and I won’t stop doing these – they give me immense pleasure,  but I want to also run a set of images on a ‘what if’ basis….  What if I shot everything out of focus?  What if I did everything with a dutch tilt? (a type of camera shot where the camera is set at an angle), What if I photographed…………… (fill in the blank as you desire).  Maybe just 6 images – maybe a project of just one image, maybe 15 or 20.  What if I set myself a project to complete 100 prints in a twelve month period? (that might not happen)……. but what if it did….?

As someone said to me only today – “it’s only a photo”….. and when I questioned why denegrate it to “only a photo”…… I was met with silence….. and there the matter rested.

 

 

Easy Photography?

I was stood in a shop the other day, looking at the pictures they had for sale in there. Some were paintings, some craft, and some photography. The photographs were pleasing images of the Lincolnshire wolds – woodlands, landscapes, and also beach scenes.

A lady stood next to me, humphed slightly, and announced in fairly loud tones, that the photographs were easy – anyone could take them with a decent mobile phone, and she didn’t see quite why they were even for sale, never mind at the price asked.

Part of me wanted to get involved in a conversation, but in the end, she walked away, and I continued to stand and stare, and wondered why people think photography is so simple.

Part of the issue is the preponderance of images that are available on the internet, and on Facebook – mostly, I see very poor ones (I’ve talked about this before) – but mainly it’s the idea, or assumption that the creation of a good photograph is easy, and takes little or no skill to create, but merely the good luck to be in the right place at the right time. It is generally assumed that the glass and body of the camera has all the cleverness built in, and it is thought that actual talent is not needed to make an image the way it is. They think that anyone who can see, with or without glasses, can make the same picture.

The assumption is that photographs can be made without the interference of vision, craft, dedication, repetition or talent of the photographer.

People think that because they own a camera, they are photographers. It’s surely the same principle of – “I bought a new oven, therefore I am a chef”. I see it all the time, the new camera owners who instantly think they can make money from their ‘art’. They don’t need to learn all the nuances of photography – they can put the camera on the green square – full auto, and wonderful pictures will spill out – which they can then overprocess (because they don’t know when to stop, and after all, a great coloured filter will really enhance that shot)….

Do they really think that Ansel Adams got great images of Yosemite every time he got his camera out? Do they really think that Edward Weston’s Pepper number 30 came first time….. no – the clue is in the title…. Pepper number 30 – which means that there were at least 29 others that came before that… and who knows how many afterwards. It just means that Weston thought that number 30 was the best for publishing at that time.

So when I see images on line with wails from photographers who say, “I shot this and no-one has commented… but when I do something different people do” ….. then I say – there might be a reason. Maybe your talent doesn’t lie in that direction, and maybe you go back to what you are good at. Or maybe the shot, though competent, has no soul.

A portrait of a model sat on a wall, can be just that, a person sat on a wall. There’s no story, no soul, no romance….. NO INTENT.

I’ve always found that planned shoots, with a visualised end are successful. The times when I wander out with no idea what to do, usually result in a lot of deleted images (but hey, I had the day out and enjoyed company maybe, or just the good weather).

Ansel Adams reckoned that your first 10,000 pictures are just practice, and you get better after that….. so I’d better get the camera out again……

Enjoy your shooting

 

Musings……..

A few weeks back, I was having a conversation with another photographer about images. A conversation which eventually turned into one about photographic art.

One of the things that we talked about was how can we be honest with ourselves about the images we make. It’s hard to be self critical without being over-critical, and it is somewhat easier to talk about other peoples work when it isn’t our own.

We do look sometimes though at other peoples work and cringe, and they think we don’t understand, and become self-congratulating artists. On the other hand there are photographers whose opening lines are always “I know I can’t do this”, or “You’re a much better photographer than I am”, and “I’ll never be any good”…. what I want to say to those that start off like this is “If you really believe that, then go get another hobby”….. I know you can’t always say that, but I’d really like to.

We have all had conversations with photographers who see no room for improvement in their work. They have the ‘best’ gear, and of course then take the ‘best’ pictures. They will defend their work to the death at the slightest hint of a contrary opinion. Or they will immediately start to explain exactly why the image is not as the viewer would see it. The excuses fly, and our comments become futile.

So, next time you look at someone’s images, why not ask them first if they really want your honest opinion. If they say no, then walk away. If they say yes, then it might be worth asking if they just want you to tell them what you LIKE about the shot, or would they be interested in knowing what you would have done differently.

I am happy to offer my opinions, but that’s all they are. People can accept or reject advice as much as they please, and I want them to know that I won’t be bothered or offended if they take no notice – it is always the author who has the final say, and not the judge.

Failure is just a way of learning what doesn’t work, and I’ve found hundreds, maybe thousands of ways…..

Photo Impressionism – Part 2

In my last blog post, I talked about my re-discovery of multiple exposure images.

Since then, I’ve worked on a good number of new photographs using this style, and a refined viewpoint.  I’m also starting to fully understand what works and what doesn’t.

My starting point was the artist James Abbott McNeill Whistler, and his impressionistic painting “Sea and Rain” – The dreamy effect of the lone man, walking along a foggy beach was remincent of views I see fairly regularly along the East Coast of England. It was paintings similar to this that encouraged me on my way to try and re-create photographically this style of art.

There is a book that I’m keen to get a copy of – it’s entitled “The Lens of Impressionism: Photography and Painting Along the Normandy Coast, 1850-1874″ and includes the beautiful mid-19th century photography of Gustave Le Gray, Henri Le Secq, and others.  The Normandy Coast is where Whistler spent time painting, and it is also the time when painters and photographers were trying to capture motion.  Whistler was trying to move away from conventional art, and experimenting with a softer style.

In the time following the invention of photography, there was controversy about whether art could be photographic, or whether photographs were merely recording a scene.  I would say that the photograph of the French Fleet, Cherbourg, taken by Gustave Le Gray in 1858, shows great artistic quality.

Screenshot 2018-04-25 10.04.32

So photography became the ‘new painting’. Did photography influence the painters, or did the painters influence the photography…….?  I don’t know the answer..

A trip to the Science and Media Museum in Bradford revealed images by Frank Eugene (whom I remember from my college days) who scratched his negatives, to give a softer feel.  As far as I know, no-one before him had tried this, and even the ‘purists’ of the day were said to admire his work.

Screenshot 2018-04-25 09.48.41

Nude Man by Frank Eugene

Eugene was one of the founding members of “The Linked Ring” – Also known as “The Brotherhood of the Ring”, a photographic society created to propose and defend that photography was just as much an art as it was a science.

You can access the Linked Ring exhibition catalogues HERE (It can take a while to load even with a fast internet connection, so be careful) – Sadly the photographs themselves are not reproduced, but you can access all the Salon members, and search for their photography.  You can also see many adverts for the various processing labs, and cameras that were available in 1903.

I did try searching for some of the images in the catalogue but without success.

So – to go back to the start, you can find more of my impressionistic images on Flickr, by checking the link on the right hand side of the blog, I do hope you enjoy them.

More to come on this topic.

 

Lightwaves – Salford Quays – Humans Being Digital

On Friday – December 15th, four of us went to Salford Quays, to attend Lightwaves, on Salford Quays, hosted by Quays Culture.

We were able to meet with the Creative Director, Lucy Dusgate, and talk to her about this years show. (Image by Keith Balcombe)

We discussed the latest commission “I forgot to say”……

International novelist, University of Salford Chancellor and Scotland’s national poet, Jackie Kay has produced a brand new, large-scale commission neon word sign, which spans 15 metres in length across the Plaza outside The Lowry.  Jackie Kay was invited to choose a sentence that for her sums up this year.  The neon (LED) word art spells out ‘I Forgot To Say,’ with the latter, ‘To Say’, illuminating and increasing in intensity and colour when audiences leave their messages..…..  In response to the messages left, Jackie Kay will produce a brand new poem in early 2018.

You can find information about this poem by clicking HERE

Planning for these events, starts at least 18 months in advance, and the build can take up to six months.  The exhibits have to be weather proof, and be able to withstand winds up to 45mph, as it can be pretty windy on the Quays.

Lucy, who works part time for Quays Culture, has a lot of support from both full, and part time staff – one of whom deals just with all the administration.

We asked Lucy about the selection of artists to display their work on the Quays.  She explained that she keeps an eye on the artistic processes, and when she sees work that she thinks will fit, she will approach the artist directly.  She is also aware of upcoming emerging UK talent, and will encourage those to apply to have their work displayed.

This year, the Danish artist Tom Dekyzere is displaying some of his work.  You can find more information about Tom by clicking HERE

His installation on the Quays, a dynamic waterside sculpture will translate soundwaves from beneath the River Irwell into lightwaves.

Tom Dekyvere explores the deeper layers of reality and mind. Just as the alchemists of former times probing for unexpected connections, in search of the boundaries between nature and technology, between man and robot, between dead and living matter.

With over 400,000 people attending the Quays last winter – Lucy hopes that this will be exceeded this year.

The other section of the display is entitled “Humans Being Digital”, an exhibition which ends in February 2018.  Thom Kubli brings his piece Black Hole Horizon – which illustrates sound in the form of bubbles.


This is what Thom’s website has to say about the installation

“What kind of relations exists between oscillating air, black holes and soap bubbles? What effect does the sound of horns have on the human psyche and why is it present in various creation myths? What impact does gravity have on our collective consciousness? Where do spectacle and contemplation meet?

The installation Black Hole Horizon is a cosmological experimental setup, a meditation about a spectacular machine that transforms sound into three-dimensional objects and that keeps the space in steady transformation.

The nucleus of Black Hole Horizon is the development of an instrument that is operated by compressed air and that resembles a ship’s horn. With the sounding of each tone, a huge soap bubble emerges from the horn. It grows while the tone sounds, peels off the horn, lingers through the exhibition space and finally bursts at an erratic position within the room.”

Heart, Brain and Lungs by Pascal Haudressy are screen-based pieces that encourage you to think about your own bodies…


Finally, Nye Thompson uses CCTV footage to create a curious environment that asks questions about technology and privacy, contributing a sense of anxiety to an exhibition of many emotions.

humansbeingdigital artists: U_Joo and Limhee Young; Max Dovey; Thom Kubli; Nye Thompson; Thomson and Craighead; Mary Maggic; Mango Chijo Tree and The Jayder; Pascal Haudressy; Libby Heaney and Felix Luque Sanchez.

If you get a chance to visit, entry is free.

Lightwaves ends on December 17th, and Humans Being Digital Ends February 2018.

 

Photographic Skills

For a while now, I’ve been thinking about what we, as photographers, need to be doing to enhance our skill-sets.

We all need to be able to work the controls on our cameras, even in the dark, it should be second nature to change an ISO, or an F stop, or a shutter speed without even having to think how to do it – and the only way to achieve this is to practice.

We also need to know how to ‘see’ a photograph before we even press the shutter button, and it’s these skills that can separate the terrific, from the merely competent.

With the advent of new digital cameras, it’s actually quite hard to make a really bad exposure.  Even harder these days to achieve an out of focus image.  Cameras are very clever these days, and have built in exposure settings, and shake reduction in either the camera body, or lens.

However, on top of all these things, I think that photographers need another set of skills outside that of just ‘taking’ an image.

1. Computer Literacy – software is the mainstay of the post image taking process.  We need to be able to email images, to resize them, to compress them, and send them to storage sites such as Dropbox.  To do that, we need to be able to type, and express ourselves in a clear and concise manner.

2. We need to be able to competently edit, and select images.  These days, we don’t go out and shoot a roll or two of film.  We go out and come back sometimes with hundreds, maybe thousands, of images.  We need to be able to select which are the best ones, and the ones that our ‘client’ will like, and not just ones that are our own personal favourites.  We need to be clear that the sharpest images, are not always the best ones compositionally, and conversely the best composed ones, won’t always be the sharpest – we need to be able to make that distinction and choose wisely.

3. We need to be aware of art history, and photographic history.  If you are asked who your favourite photographer is – it’s not just going to be the chap down the  road who takes amazing bird photographs – he might be the one impressing you at the moment, but who in history influences the images you take?    Art and photography are inching closer and closer together, and soon, you will have a hard job telling the difference.

Melbourne Photographer Bill Gekas photographs his daughter in the style of all the old Masters.  Take a look here

https://www.boredpanda.com/5-year-old-daughter-classic-paintings-bill-gekas/

Google for photographic images of ‘Girl with a Pearl Earring’ by Vermeer, and see what others are up to.

you need to understand art now, to understand photography.

4. The art of conversation – There are times when you need permission to shoot.  Either a person, or a place.  The need for access can sometimes be smoothed over by a polite conversation with owners, or guardians.  After photographers have trespassed on land, you can’t blame the owners for being angry at finding ‘yet another’ on their property.  Go in first, ask the questions – I think you’ll be surprised how forthcoming people will be, just for asking.

5. And lastly – filing and organisation – there is no point in having the worlds greatest image if you can’t find it on  your hard drive.  So, keep your drives tidy, split your images into sections or groups, back them up externally, and don’t rely on your website either – if your provider goes out of business – you could be left high and dry with no images.

If you use Lightroom, avail yourself of the catalogue and make sure your images are correctly sorted, tagged, and keyworded.  Sure, it might take you a week (or more) of hard work, if you’ve not started yet, but in the long run I think you’ll be pleased you did.

For example – I sold an image at a craft fair 5 years ago – it was mounted but not framed.  The client decided to have it reframed, and the picture framer damaged the print.  He contacted me, and asked if I could supply a new one, so that he didn’t have to tell his client; and because I’d got a good catalogue, I was able, within an hour, to send him a file, so he could get it printed again.  Job done.

GWPE

Art or Content

Show a person who likes dogs, a picture of a dog, and they may love it – even if it’s not technically perfect, because it’s a picture they can understand, and relate to. Show them one of a subject they are not interested in, and no matter how artistic it is, they won’t necessarily like it.

It’s Christmas eve, and I was sitting here reviewing images taken over the last 12 months, and thinking how fortunate I’ve been to be able to work with some amazing people – both models and photographers.

Meeting new people, models, photographers, studio owners is always a good thing.  The more people you interact with, the more ideas you can get, and the better images you can produce.

I’ve been blessed with two particularly good shoots in the last months – both have been quite artistic, and well received in the competitions that I’ve been entering.

I did think that I might print some images off and give them as gifts, but I’m not altogether sure that friends would enjoy them in the same way that I do.

I think that as photographers – we are very much emotionally involved in our images, and that the general public often appreciate the content much more than the creativity that goes into the art we make.

Show a person who likes dogs, a picture of a dog, and they may love it – even if it’s not technically perfect, because it’s a picture they can understand, and relate to.  Show them one of a subject they are not interested in, and no matter how artistic it is, they won’t necessarily like it.

Pictures are appreciated by people more when it actually pertains to their life.  Other people’s photography generally appeals to photographers simply because we ARE photographers..  A month or two back, I went to hear a photographer speak, and although it wasn’t a genre of photography I was particularly interested in, I admired the images – so much so, that at the end of the talk, I bought his book.  Each picture is exquisite, but I’d never go out and shoot that subject; but that didn’t stop me admiring the composition, textures and story that each image told.

There is a particular image that I’ve used in a number of competitions this year – an abstract – it did the rounds locally, in camera club battles – it scored highly every time – not getting less than an 18 out of 20 – and mostly getting 20.

Thinking that I’d got a winner on my hands, I entered it into a national competition – waiting eagerly for the results, I was astounded to find that it scored the lowest mark I had ever had in a National.  So what did I do?  Well, I still loved the picture, and when the print was returned to me, I mounted it, framed it, and hung it on the wall;  …….. and here it is…….

dv7b4136

It’s a bit ‘marmite’ I understand that…..  but none the less…..

I doubt I’d offer it as a gift to anyone, but it does look great on my wall – or at least I think so.

And on that note, I’d like to wish you all a happy and peaceful Christmas, and an amazing, and artful 2017 – let’s make images to be proud of……….