CLUB NEWSLETTER MAY 2005

May 2005

This year is going incredibly fast. We have completed all of this season's competition and have held our annual dinner and prize giving. And will be meeting shortly for our AGM. As usual the next season will bring changes and I hope it is as good year as last.
Well done, to all the members who received prizes and certificates at the prize giving and hope that all approve of the new selection of trophies.
Sonia as usual has organised a great summer programme and even if the weather is awful, remember there is always the pub. Hope to see some of you there. Sonia has provided us with a very interesting article on "The Art of Judging" , which I have included in this newsletter, hope that you find it as interesting as I did.

Tracy May
Newsletter Editor

Notices

Jim  is again asking for photographs to appear on our website galleries. He currently, only has 4 galleries on the website and would like to increase over the summer, as well as a gallery for Monochrome. Please send images for publication to: -  webmaster@basingstokecameraclub.co.uk. Jim would also accept these on DVD or CD.

 

Expressing Visual Opinions/The Art of Judging

Making Judgement of an image requires one to be eloquent and articulate. In order to achieve these qualities, a judge has to be practiced, and in most of all, versed in the principles of composition, and in the elements and principles of design.
Composition is the arrangement of elements within the picture space, while design elements are parts of the image that can be isolated, they are the structure of the image and have meaning.
Some Elements of Composition: -
 

Image Complexity/Simplicity.
The judge must be aware of what is important in the image. Any information in the image that doesn't add to the overall appeal could be considered as unnecessary.
 

Visual Dominance/Emphasis.
The positioning of dominant aspects in an image is critical. Dominance usually suggests importance, and is the point where the eye will usually settle. Therefore, if the area of dominance does not express importance in the image, or drags the eye away from what should be important, the judge must be able to recognise this. Dominance can be expressed by colour, size in the picture space, shape, human form etc.
 

Foregrounds and backgrounds.
Busyness in any of these positions isn't necessarily bad. The judge must determine if these features add to or detract from the meaning of the image. A portrait of an artist in his studio that shows clearly his easel, paint trays and tools can add character. However, if a bright window appears behind the artists' head, this probably distracts. Likewise, a poorly arranged foreground can prevent one from visually entering the scene.

Format.
35mm landscape and portrait formats don't always complement. The other factor to consider is that many photographers don't like cropping their images, particularly if it is a slide. Nevertheless, other shapes must be considered and judges need to suggest where and how the format could be changed to create more impact.
 

Viewpoint.
Learn to recognise the sacred human height! It is generally a boring position. We view our world everyday from this height, so the creative photographer should pursue different heights! Again, the judge must learn to recognise that a low viewpoint portrait will emphasise the nostrils of a model, (not very Glamorous!) and a high viewpoint will make a Ballerina somewhat squat.

Texture.
Texture is the quality of an objec5t that we sense through touch. It exists as a literal surface we can feel, but also as a surface we can see, and imagine the sensation if we felt it. Texture can also be implied and our visual memory/experience will tell us what the surface should feel like. This is where the judge must have adjectives at his fingertips, bristly, crystalline, velvet etc. Be more descriptive than just, rough or smooth.

Form.
There can be 2 or three-dimensional. The judge must recognise if the photographer has made the most of the form of his subject. Depth can be created by using 3 dimensional forms. Side lighting will enhance form, while front lighting will tend to reduce 3 dimensional forms.

Colour
Colour is one of the most powerful design elements. It has tremendous expressive qualities. Understanding the use of colour is crucial. Colour is expressed as hue, tone, shade, monochromatic, contrasting and complimentary and so on. The judge needs to have some idea of the psychology and emotion of colour for example; fantasy mushrooms are best expressed as purple

Lines.
Lines create impact and meaning by their direction and weight. Lines can also be implied and create visual movement within the picture space. Vertical lines create a feeling of loftiness and spirituality. Horizontal line suggests a feeling of rest or repose. Curved lines will allow the viewers eye to wander slowly through the image space. The judge should pay attention to the use of lines and their impact on the image. Deeply curving lines could suggest turmoil.

Pattern
Pattern is an underlying structure that organises the image in a consistent, regular manner. Pattern can be described as repeating unit of shape or form. The judge needs to be expressive and describe pattern e.g. flowing, spiral, and grid, branching, cellular.

Movement
This can be real and implied and also created (technically in camera). Lines will also create movement. Be sure to acknowledge how movement compliments the dynamics of an image.

Balance
Balance is the concept of visual equilibrium. Balance can be symmetrical or asymmetrical and the judge must be aware of how the arrangement of subjects within the picture space, how lighting, how the use of movement, lines etc can impact on balance. Very heavy or large subjects on one side of an image can be balanced by something very small on the opposite side of an image, if that particular element has visual weight.

 

Sonia Wadworth