2018 / 19 Neville Jackson Image of the Year

2018 / 19 Neville Jackson Image of the Year

Last night saw the final competition of the season with the Neville Jackson Image of the Year. This is an externally judged open print competition and had 48 entries. This years judge was  John Lewis LRPS. from Daventry who gave some very insightful comments about the images including discussion of the various compositional elements seen in the images from leadin lines, framing, S or C curves, circles, horizons, hands, eyes, closure, foreground elements and whether these can be blurred or sharp, how they provide an impression of depth and how if they’re a strong element they can detract from the main subject, story elements

After the main scoring there were some 14 images held back which is a good indication of overall quality of the entries.

Following further deliberations this was reduced to 4

“Kelsey” by Daniel Wood

“The Scamp” by Ian Waite

These were both finally awarded 19 with the remaining 2 images getting 20

“Franz Josef” by Chantal Cooper

“Four men in a boat” by Steve Pears

With this image being given the overall win

Author Image Score
Steve Pears Four Men In A Boat 20 Winner
Chantal Cooper Franz Josef 20
Debbie Lowe 92214 Leicester City 19
Julie Holbeche-Maund In The Attic 19
Daniel Wood Kelsey 19
Alan Wardropper The Illusionist 19
Ian Waite The Scamp 19
Debbie Lowe Bradgate Weir At Dusk 19
Peter Lawrance Puppet Master 18
Roger Leck Morning On Calpe Beach 18
Steve Bexon Street Artists Meeting 18
Gary Wood Duckpool 18
Ian Waite Garden Beauty 18
Debbie Lowe Summer Sun On The River Lin 18
Graham townsend Excess Baggage 17
Steve Bexon What Are They For 17
Roger Leck Where’s Her Number 17
John Smith Fowey 17
Alan Wardropper Halloween Friends 17
Daniel Wood Lumsdale 17
Julie Holbeche-maund Rydal Water 17
Phil Mallin Sydney Opera House 17
Steve Pears Thoughtful 17
Rob Jones Warehouses In Trondheim 17
Alan Wardropper 2 Beauties 17
Steve Pears Canna 17
Phil Mallin Mixed Peppers 17
John Smith Bridge 42 16
Gary Wood Chesterton 16
Martin Allen Female Kestrel 16
Phil Mallin Grassmere Morning 16
Rob Jones Star And Plane Trails Around Polaris 16
Geoff Whitelocks The View From Rhos On Sea 16
Chantal Cooper Tia 16
Trish Rudin Young Kestrel 16
Martin Allen Grinds Brook 16
Peter Lawrance Kings Cross Tunnel 16
James Botterill Maggpie Mine 16
Gary Wood Priests Cove 16
Ian Waite Rescued 16
Trish Rudin Squirrel 16
Geoff Whitelocks Todays Jobs 16
Trish Rudin Crummock Water Reflections 16
Daniel Wood Hannah 16
Julie Holbeche-Maund Rydal Mist 16
Peter Lawrance- Stag Silhouette 16
James Botterill Mam Tor 15
Brett Lawrence Three Al Pacas 15

Click here for IOTY Gallery

 

2019 MCPF Photofolio

2019 MCPF Photofolio

Yesterday was the 2019 MCPF Photofolio we entered 15 images into the PDI round 4 of which achieve the acceptance mark of 12

Scoring 10 where Autumn Fashion-Julie Holbeche-Maund LRPS, Talacre Lighthouse & Combesgate Beach-James Botterill, Fairy Glen-John Denny, Scary Clown & The illusionist-Alan Wardropper

Scoring 11 Foral Beauty & Last Man Standing-Phil Mallin, Red Squirrel-Trish Rudin, The Scamp-Ian Waite & White Feathered Goddess-Julie Holbeche-Maund LRPS

Scoring 12 and achieveing acceptance Chesterton-Gary Wood, Miss Red-Julie Holbeche-Maund LRPS & Porlock Weir-Phil Mallin

And scoring 14 and being awarded the Malcolm Cook Medal Vestrahorn Iceland- Phil Mallin

 

 

 

 

2018 / 19 Speaker “cuba libre”

2018 / 19 Speaker “cuba libre”

Last night we had a speaker evening with Anne Sutcliff FRPS giving us her presentation “cuba libre”

Which include an appraisal of the history of Cuba and how its changed since the expansion of tourism over the last 40 or so years.

She used images from both her and her late husband Alan Millward FRPS to illustrate her talk.

You can see more of Annes work at http://www.annesutcliffe.com/empty or http://www.rps.org/technical/gallery?a=%7B45D9D9B8-D33A-4DC8-9D77-1FB461558E2D%7D

2018 / 19 POTY 7 – Portraits evening

2018 / 19 POTY 7 – Portraits evening

Last night was the last round of POTY a themed print round for Portraits.

This was followed by a video from the Nic team on the usage of Silver EFec’s Pro to alter an image to Monochrome.

If you would like to rewatch it its available on You-Tube @ https://www.youtube.com/watch?v=AIumS2y8uyo

2018 / 19 Workshop Using Lightrooms

2018 / 19 Workshop Using Lightrooms

Last night we had a master class in the use of Adobe Lightroom by Phil Mallin.

He described his general work flow and the types of adjustments that he does whilst working on an image in Lightrooms.

  • Basic Adjustments: He starts with the basic tools panel which does global adjustments

As a general rule he reduces the  Highlights to around -50, increase both the shadows and whites to +50 and finally reduces the blacks to -50. Note  this is just a starting point and during the pressing will often return and do further minor tweaks to these values.

 

If you want to see the image full screen press F (see https://makeawebsitehub.com/adobe-lightroom-keyboard-shortcuts-cheat-sheet/ ) for other keyboard short cuts

  • Spot removal: Having set some basic adjustments he looks to clean up the image using the spot removal tool Set to heal

Scans the image for imperfections due to marks on lens or dust on sensor

You probably need to be zoomed in to do this use the zoom options which are to the top left

Too move / pan around the image whilst zoomed in and having a tool selected, press and hold down the Space bar which changes the cursor to the hand icon.

You can also visualise where these imperfection might be by selecting the visualise spots toggle on the tool bar

If this tool bar is missing select the Show Tool bar from the View menu or press T

Note although this is called spot removal and the brush is round its really a clone stamp and you can select any area by moving the brush whilst holding down the left mouse button.

  • Cropping / straightening

Dragging the edges of the box will change the cropping and moving the cursor to the corner changes to rotate

Selecting the crop overlay again apply’s the change.

  • Graduated filter: He then sees what detail is in the Sky or Foreground by altering the exposure level in the basic panel. But actual uses the Graduated filter tool to apply exposure changes to a large area.

You can alter any of the basic settings in this ool or select from a list of presets

Holding down the SHIFT key whilst placing the graduated filter will ensure its horizontal. Moving the mouse to the centre line changes the cursor to the rotate icon. The graduation runs between the two parallel line so the wider the distance between these the more graduation. The graduation starts at the first selected location and ends at the second. The area before the first selection gets the full effect.

  • Radial Filter: (Best tool ever …. !) or press Shift+M

Select the centre of the area you want to adjust, change the size of the ellipse by dragging the cursor with the left mouse button selected. Move the cursor near the line changes to the rotate icon so you can alter the angle.

You can alter the feather amount or invert the filter

You can duplicate or delete either the graduated or radial filters by right mousing clicking on the pin for the menu. You can also display the mask that shows the area effected by the filter by using the “show the mask area” or by pressing O

  • Adjustment brush: For even finer adjustments he use this to make the dark areas darker and the light areas lighter aka performimg local contrast adjustments.

Adjust the size of the brush with the mouse wheel, Start with all adjustments centred, paint the area you wish to alter (again toggling the mask with O my help with this). Then alter the setting Phil generally either used Dodge or Burn again these are available from the preset menu but basically they increase or decrease the exposure to make it lighter or darker respectively.

  • Saturation. Press the toggle to the top left of the Saturation tab in the HSL Colour panel. Then select the colour for which you wish to alter the saturation

  • Sharpening  increase the sharpening to about 90, then alter the mask. Moving the slider you will seen no effect but press and hold the the alt key (option on Mac), at first you will see all white drag the slider to the right and the black ares wont be sharpened.

  • Effects. For vignettes use the effects panel