RPS Creative Eye magazine 83

GROUP MAGAZINE

NO. 83 SEPTEMBER 2020

CREATIVE EYE

WELCOME

COMMITTEE Chairman Moira Ellice ARPS creative.chair@rps.org

We all know how hugely rewarding photography can be, but putting this issue together has made me think

Treasurer and Zoom manager Barry Collin LRPS CPAGB APAGB bcrps@btopenworld.com

this image-making art form can offer so much more.

It can free us when the rest of the world finds itself

General Secretary Gillian Beckett ARPS CPAGB creative.secretary@rps.org

in lockdown, it has the power to improve our mental wellbeing, and it can be part of a healing process.

As Moira mentions (opposite), we are running another cover competition for the January 2021 issue! Entries should be at least 2400px on the longest edge, TIFF or JPEG and ideally in Adobe RGB colourspace. Please send entries to: creative.publications@rps.org no later than 30th November 2020.

Steve Varman, Editor

CONNECT

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Cover Competition

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Blind Sight, Alison Winterburn

facebook Facebook facebook.com/groups/rpscg Or search Facebook for ‘RPS Creative’

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Mindful Photography, Sylvia Lockhart Escape To The Garden, David Townshend

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View From The Beach, Martin Heathcote

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Didn’t We Have A Lovely Time, Andy Swain

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Garden Diners, Neil Scott

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Discarded, Steve Geer

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Essex/Suffolk Discusion Group, Barry Freeman

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ARPS Distinction: Jan Harris

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ARPS Distinction: Martin Parratt

Exhibition and Events Co-ordinator Moira Ellice ARPS creative.chair@rps.org Exhibition Secretary Matthew Clarke BPE3* creativeimage@rps.org

CONTENTS

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Vice Chairman and Assistant Exhibition Co-ordinator Nigel Rea ARPS

Membership Secretary Bill Coles LRPS creative.membershipsecretary@rps.org Publications Editor and Webmaster Steve Varman LRPS creative.publications@rps.org Archivist Barry Freeman ARPS DPAGB APAGB bazfree.photo@gmail.com

flickr Flickr flickr.com/groups/3510780@N20/pool Or search Flickr for Creative or RPS Contact: David Ryland ARPS david_1@btinternet.com

Cover: Alice Through The Looking Glass

by Nur Tucker LRPS

Contribute an article

Tell us about your stories, projects and distinction successes. If you would like to submit something for consideration, for either the eNewsletter or Creative Eye magazine, please contact Steve Varman at: creative.publications@rps.org

Editor: Steve Varman creative.publications@rps.org

Website: rps.org/ceg

Next issue: January 2021 Submissions by: November 30 2020

31 Diary © 2020 All rights reserved. Apart from storage and viewing in its entirety for personal reference, no part of this publication may be reproduced, stored in a retrieval system or transmitted in any form without prior permission of the copyright holder. The Royal Photographic Society, the Creative Eye Group and the Editor accept no liability for the misuse of any content or for any breach of copyright by a contributor. The views expressed in this magazine do not necessarily reflect the policies of the Royal Photographic Society or the Creative Eye Group. Unless otherwise indicated, all images are from, and copyright of, the authors.

Erratum

Apologies to Nicola Bolton for the incorrect image title in the Exhibition issue No. 82, page 23. This should have been London Cityscape and not Landscape Cityscape.

The Royal Photographic Society, RPS House, 337 Paintworks, Arnos Vale, Bristol, BS4 3AR, UK t +44 (0)117 3164450 www.rps.org VAT Registration No. GB 753 3057 41 Registered Charity No. 1107831

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CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

FROM THE

CHAIRMAN

I

n May I referred to the cancellation or postponement of all planned events through to the autumn of 2020, forced upon us by the pandemic. Having to make that decision was so disappointing for me and my dedicated team of volunteers, as I had strived to produce a varied and, hopefully, interesting programme for our members.

Like all other organisations around the world, we have had to try and adapt, with the help of modern technology, to allow us to run some events which would normally have taken place as gatherings in meeting rooms. We have been very fortunate to find invited speakers who have been prepared to make their presentations via Zoom. In collaboration with the Digital Imaging Group South Eastern Centre, the first of these presentations was given by Steve Gosling at the end of June. The second, organised by the Creative Eye Group, was given by James Kerwin, resident in Georgia, and was enjoyed by many members, including several based overseas. The next presentation, to be given by internationally renowned photographer, Polina Plotnikova FRPS, is scheduled for the end of September Although members have been unable to enjoy getting together for field trips as planned, the content of this September edition demonstrates just how well members have used their love of photography during the difficult time of Government imposed restrictions. Our Editor, Steve Varman, has summarised those achievements, and accompanying personal benefits, so well.

We had hoped to be able to display the Annual Exhibition at the Smethwick Photographic Society and Edinburgh Photographic Society in September and November respectively, but both societies have advised that they will be unable to offer their facilities this year.

I will continue to plan a 2021 programme of events, but implementation will, of course, be subject to Government guidelines. However, I am pleased to confirm that, in collaboration with the Digital Imaging Group South Eastern Centre, Nat Coalson ARPS has agreed to give an online presentation in January.

Many thanks to Steve Varman, who judged the cover competition for the front cover of the magazine. As the competition proved to be so popular, we will be repeating it for the January edition. Please send your image entry to Steve by Monday 30 th November 2020.

I thank you for supporting the Creative Eye Group. Please stay safe and well.

Moira

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

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COVER COMPETITION Choosing a winning cover image from so many fantastic entries was no easy task, but after much deliberation congratulations go to Nur Tucker for Alice Through The Looking Glass. Here is Nur’s winning image along with some of our favourite entries (I wish we had more space!). Also see Male Chaffinch by Neil Scott on page 18, yet another outstanding entry. Thank you to everyone who entered.

WINNER

Alice Through The Looking Glass by Nur Tucker LRPS

Collioure Sunset by Colin Prickett ARPS

Frozen Viburnum by John Jennings LRPS

Crab Apple Blossom by Aexander Cowie ARPS

This image demonstrated imagination, creativity and great technical mastery. There must have been significant planning and thought that went into this project, and that’s paid off in spades. The costume, composition and narrative fits the world imagined by Lewis Carroll perfectly.

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One Dark Night by Mary Auckland ARPS

Towards the Mist by Emma Meaney

Treetment by Robin Myerscough

A Celebration of Steam Orb by David Ryland ARPS

Pink by David Rutter ARPS

A New Beginning by John Thompson ARPS

BLIND SIGHT ALSION WINTERBURN

B

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I Can See Clearly Now

Life Savers

lind sight is how I refer to my loss of visual memory; our current lockdown situation has taken me back to how strange life was for me eight years ago.

My “lockdown” was then the result of brain damage caused by viral encephalitis.

On returning from hospital to my family home, in an area where I had lived for almost forty years, I had no idea where I was. Imagine what that was like for my husband, carrying out a very strange Estate Agent’s task, having to show me around our family home.

An amusing anecdote relating to that event was him having to witness a previously unseen sight; I blushed! Together with a shy, bowed head was my response to the vision of a shared bedroom – it seems I was back to being a teenager; so that couldn’t happen!

Relearning where I lived; what century we’re in and who the “oldish” lady in the mirror was took me; and in some cases, is still taking me; years. I made the decision one morning to go and buy a paper: after planning the route to our local corner shop I managed to get there. It was such a strange journey; people kept saying hello to me; asking how I was and knowing my name. I kept looking over my shoulder to see who they were addressing; eventually I understood it was me.

Arriving at the corner shop they had the paper I wanted; but were charging well over a quid; an unbelievable price back in the 1970s!

The only vaguely positive CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

journeys became a crucial part of recovery. As Whitney Huston’s perfectly supportive song reflects, I really did have to take it step by step.

Starting with small circular walks always turning left – after a while changing the circle to right turns – I would get lost again.

Consistently taking my camera with me, standing; or sometimes kneeling; to get a good angle allowed time to take in the view. Eventually, several years later, I managed to regain my visual memory. Here are some of my attempts starting at home and gradually taking longer journeys on reflection.

I Can See Clearly Now My Camera And Me

consequence for me was that I knew what was missing. So, I constructed plans of relearning; how do you get your visual memory back? An unusual request I know; for me photography was the key to recovery; of both the present and the past.

Sorting through the amazing amount of family photographs; creating albums; repeatedly going over my forgotten life; wasn’t easy. Being a constant reminder of what was missing; but I persevered hoping to relearn my life.

I found that being outdoors; taking regular walks; photographing my

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Juvenile Years

Morning Has Broken

Autumnal Flip

On returning from hospital to my family home, in an area where I had lived for almost forty years, I had no idea where I was.

Flip Tide

You can read more about Alison’s story at headway.org.uk https://bit.ly/34jHc7T

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MINDFUL PHOTOGRAPHY SYLVIA LOCKHART

O

ver the years I have taken numerous photography classes but I am mostly a self-trained photographer. Recently I have exhibited in the UK and the U.S. Having lived in large cities for many years I’ve always gravitated towards nature photography as a way to create a contemplative space away from the frenetic pace of urban life.

My work has led me on a journey from more realistic, representational art to more abstract works that defy simple categorization. While exploring different types of photography I was soon fascinated with the myriad of colors and patterns that nature provided and this exploration opened up a new world. After a friend 8

gifted me a book on how to incorporate a more zen-like and mindful approach to photography I realized that by breaking technical rules it gave me the freedom to discover new ways of seeing.

Experimenting with various techniques and playing with the camera settings allowed me to experience a more mindful photographic process and that led me to embrace an abstract style.

These new techniques, such as ICM (intentional camera movement) and free-lensing (the lens is not attached to the camera) have allowed me to be fully immersed in the moment and to create something unique to that particular time and place.

My attraction to this type of photography comes from

my need for an outlet for expressing my creative freedom while aiming to be at one with that moment and capturing it in a very personal way. With minimal post-editing I try to remain true to the moment in time when the image was captured. My photography is influenced and inspired

by some romantic painters such as Turner and some impressionist painters like Monet who so magnificently and deftly captured a mood in a landscape. This creative approach allows me to take minimalist images and eliminate distractions so the final photograph can portray a sense of calm and

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

wonder. In an era when billions of photographs are taken every single day I want to liberate the viewer from preconceived assumptions about what they are seeing or how they should interpret an image. This is the sense of freedom I like to convey in my images as well as the meditative nature of the scenes I capture. They say an image is worth a thousand words, and I would like my images to convey a thousand feelings of wonder, tranquility and peace – something much needed in this 2020.

BIO After a successful career in the marketing industry in New York City, Sylvia Lockhart returned to University in the U.S. to pursue B.A. in Spanish Cultural Studies and Art History. Since moving to the UK in 2011 she has taken numerous photography courses, including the City and Guilds Photography Certificate. She is a member of the Royal Photographic Society and the Hampstead Photographic Society with whom she has exhibited her work annually. She is also a member of the Latinaria Collective, a group of Latin American artists. Her work is exhibited in the US, the UK and online at Saatchiart.com, artsy.com and artsper.com.

Her extensive worldwide travel has led her on a creative journey to a discovery of fine art photography. During the past few years she has been exploring various themes and techniques inspired by the beauty of the natural world. Her focus is discovering nature’s own abstract expressions and how to transform them into a minimalist photograph that allows the viewer to find a place for mindfulness contemplation. Her style is instinctive and aims to mirror a painterly approach.

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ESCAPE TO THE GARDEN

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many possibilities - leaf and flower shapes and colours, light and shade, texture and shadow, structures and ornaments, all of which can be combined in many ways, and which changed as the season progressed.

Each image was created in camera, so reflects the garden at that particular time.

Colour is important in my images and lockdown seemed the perfect time to abandon any inhibitions and embrace the joyous palette that impressionist photography can produce.

Shapes also help to create strong compositions – I have used allium flower and seed head stars, the sinuous curves of hostas, even fallen eucalyptus leaves floating in the bird bath.

Textures can enhance,

No.4

T

his has been a year that none of us have ever experienced before - locked in our homes for months. Yet constraints can sometimes act as a stimulus to creativity. My garden is my great escape – not only tending plants and enjoying the emerging flowers and foliage and their attendant butterflies and bees, but also making images. My response to the coronavirus lockdown has been to see how many ways I could portray ‘My Garden DC’ (During Coronavirus) using my impressionist photography techniques.

Far from being limiting, this approach proved to be a great source of inspiration and opportunity.

Mine is only a small garden, but there are so

No.8

DAVID TOWNSHEND ARPS

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

even ‘age’, an image, and they came from both plants, such as rosemary, box and deadnettles, and inanimate objects such as paving slabs.

Looking at my images, I imagine exploring a longabandoned attic in which I discover all manner of treasures - Japanese silk screen prints (1, 2) and an Arts & Crafts tapestry – William Morris school?

(3). Perhaps the design for a Clarice Cliff teapot (4)?

In the corner sits an old framed botanical print (5).

But not all is old – here is a modern abstract landscape

painting (have I found a Howard Hodgkin?) (6) and a 1960’s lithograph print for the local squash club (7). Those fizzing Liberty scarves (8, 9) - and that disconcerting eye that follows my every move (10).

There is no limit to the possibilities – except time!

I plan to produce a book of my images, which I can pick up whenever I think my creative juices are running dry. It will say to me there is always something to photograph, always images to create, and such a sense of achievement waiting at the end.

“

lockdown seemed the perfect time to abandon any inhibitions and embrace the joyous palette that impressionist photography can produce.

No.1

No.6

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No.2 No.9 No.5

3.oN

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No.7

No.10

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VIEW FROM THE BEACH MARTIN HEATHCOTE LRPS

L

ike many photographers what and how I shoot changes as does how I process and present them.

For some time, I have enjoyed taking silhouette images and converting to mono. Over time the content of those images has decreased, and my approach has become increasingly minimalist evolving into a style with almost pure black and white and little or no texture or midtones.

This became a specific project, which is continuing and evolving, of images captured from my local beach, Mersea Island, which is 5 minutes’ walk from my house with many taken during the daily, early morning dog walk.

Apart from aiming to create very graphical images I also wanted to try and convey the expansiveness of the sea contrasting the relatively small size of both people and the objects created by people. When we entered lockdown, my walk became my allowed exercise and I shared the beach with others wanting to get outdoors.

Thus, some of the images show people temporarily escaping lockdown on the beach or being on the water in some way.

So, what do you do with such a project other than perhaps use some of the more standalone images in club competitions or exhibitions? The risk is that most just remain as an unseen collection of 1s and 0s.

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CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

Japanese Stab Book

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

Along came one of the many online courses which the RPS started as a response to lockdown - namely book making.

In this case it was with Alex Hare and Lizzie Shepherd. We started with concertina books, a previously undiscovered gem of a way of enjoying a set of images, followed by Japanese Stab Books. The stab book format seemed well suited to the beach images so this became my first attempt at such a book. Bookmaking turns out to be a highly satisfying exercise, with the added benefit of presenting your work and ideas in an easily accessible and tactile manner.

Whether or not this book is successful is subjective but on a personal level bookmaking ticks many boxes on the satisfaction criteria list and is worthy of investigation if you have not tried it.

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DIDN’T WE HAVE A LOVELY TIME ANDY SWAIN LRPS

C

romer never disappoints. It’s a small town at the eastern end of the North Norfolk Coast. It’s seen better times and has a little of that faded charm that photographers can’t seem to resist. It has a working pier, great beaches, and the fish & chips shops aren’t bad either – what’s not to like?

Fortunately for us, June 7th was overcast and bitterly cold so lots of folk resisted and didn’t like – we pretty much had the place to ourselves.

Travelling light, I took my Canon M6 with a 22mm pancake lens and 55-200 zoom, and also my iPhone 11. I mention this in passing as some of our brethren like to know – but like the man said, “my favourite camera is the one in my pocket”.

Our usual habit is wandering around to see what catches our attention. The grumpy looking fairy seemed to sum up our current 16

situation - a quick iPhone shot as I was looking into someone’s window.

And then a set of Lowry figures on the beach – I’ll spend some time on those on the computer to see if I can make the most of them.

Cromer Pier is a handsome structure that the elements and the good people of Cromer

keep messing around with. It makes for a striking background.

The sea was out as far as I can remember seeing it so we could get under and around the pier’s old legs, and the beach offered plenty of

“

foreground elements.

Somebody had left a sunny face in the sand – a wry comment. It seemed a good point to find the car, drink coffee and thank the weather gods for keeping the real sun under wraps.

My favourite camera is the one in my pocket.

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GARDEN DINERS

y house borders a tiny woodland strip which is home to a variety of wildlife including birds of many shapes and sizes.

Frequent visitors are magpies, blackbirds, feral pigeons, woodpigeons, collared doves and crows.

But the most interesting are the smaller birds, the chaffinches, bullfinches, blue tits, great tits, house sparrows and robins. These small birds are regular diners at a bird feeder in my front

people (candid and street photography), and still life/ abstract/surrealism but I recently decided to branch out a bit and try my hand at bird photography and had just bought a 100 – 400mm lens for my Fujifilm X-T2 camera when we were all sent into lockdown. I decided to use the lens to try my hand at capturing small birds in flight so this was a complete departure from my usual technique and took me well out of my comfort zone.

One border of my garden

garden, and their antics and acrobatics when approaching the feeder are amazing to watch. My usual areas of photographic interest are primarily

is composed of 2 metre high dogwood which was beginning to come into leaf when I started – around late March. I placed a small bird table about 2 metres

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Male Chaffinch

M

Chaffinch Landing Herald

NEIL SCOTT FRPS

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

Aerial Combat

choosing the aperture – small enough to give me sufficient depth of field, but large enough to throw the background out of focus.

At f8 and 5 metres the depth of field for a 400mm lens is a mere 5cm – just about the width of a sparrow!

I appreciate that there are many photographers out there who have vastly more experience than me, but this project gave me a lot of pleasure and some reasonable images.

Angel Wings

from the dogwood and set my camera up about 5 metres away. Baiting the table with sunflower hearts I spent some time watching the birds’ flight path as they emerged from their hiding places in the dogwood to approach the table. I set the focus manually by setting up a garden cane about 5 – 6cm behind the table which is where I calculated the birds would be as they were about to land.

After many early abortive attempts due to focussing problems, I read the camera manual, learned how to use manual focus and experimented with high ISO settings.

I soon discovered that these birds have incredibly short reaction times – in the order of 30 – 40milliseconds compared to a human 200 ms which explained how these birds were able to perform such fantastic aerial manoeuvres. When the light was good, I was using a setting of 1/2000 second at f8 and an ISO of 3200 or 4000 and the camera set to motordrive at 8 frames/ second. One dilemma was

“

Chaffinch Hovering

Bullfinch Spreadwing

Incredibly short reaction times explained how these birds were able to perform such fantastic aerial manoeuvres.

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INTERNATIONAL MEMBERS DISCARDED STEVE GEER ARPS

I

n Chicago, behind the shops and restaurants, there are service alleys.

These narrow canyons are lined with dumpsters which are filled each day and emptied each night.

Sometimes discarded things spill out of the dumpsters and into the alley. There are plastic knives and forks and cups and cigarette lighters.

There are disposable gloves in vast quantities, and packaging of all types.

There are flowers and vegetables that are past their best, and crumpled newspapers and flyers.

These are the things that we use once and then throw away. Individually they seem insignificant, but collectively they have much to say about the culture which produced them.

In 2017 I began photographing this spillage, placing the discarded items in reflecting puddles to provide an informative backdrop. I was photographing things that we might prefer to ignore and not look at but, through the eye of my camera, it seemed to me that many of the disposable items had their own sort of beauty, the beauty of form following function in the simplest and most economical way. Although grungy, the disposables were still mini-masterpieces of design.

Dorothea Lange once said “The camera is an 20

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instrument that teaches people to see without a camera.” The most rewarding photography projects are, I think, the ones for which this rings true.

Inspired by what I was seeing, I began to arrange the once-used things I was finding into still-life groupings inspired by their all-too-brief usage.

I live in the city. I buy things in the shops and eat in the restaurants. I see my own day-to-day activities in many of these still-life vignettes. They are self-portraits in which I am absent. Many of the discarded things will still be around, in landfills or elsewhere, long after I’ve gone and perhaps long after the city has gone.

Towards the end of the project, as I arranged unsavory things in a large alley puddle, I noticed that I was being watched by two police officers sitting in their car a few yards away. I was blocking the alley with my tripod. There was a time when I would have been put off by being watched so closely but photography sometimes encourages us to go outside our comfort zone, and that’s a good

thing. Once I was done, the police officers drove slowly past, smiling and waving as they went.

Images from the project were exhibited last year in a featured exhibition at the Perspective Gallery of Fine Art Photography in Evanston, Illinois. I chose black and white prints for the exhibit, a good match I thought for the arranged shapes, the reflected light, and the gritty textures of the alley surfaces.

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ESSEX/SUFFOLK AREA DISCUSSION GROUP

BY BARRY FREEMAN ARPS

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Woodbridge Tide Mill by Alan Powell LRPS

Defence by John Thompson ARPS

T

he Essex/Suffolk area discussion group is the only area group still operating, within the Creative Eye Special Interest Group. It has been running for over 20 years and in the beginning it was known as the East Anglian Area Group, one of many such groups. I joined the EA area group in 2003 when its organiser was the then Creative Group Chair Joy Hancock FRPS. I have been a keen member right up to the present date. Shortly after I joined Joy’s husband Mike took over as the organiser and in 2008 I became the discussion group’s organiser, which is still my pleasant task.

Our membership stands at 14, with usually around 10/12 attending meetings. We have set a limit of 14 so that all members attending can show a reasonable number of images with time for hands-on viewing and discussion.

Up to the Covid 19 Shutdown in March we met once every two months for a daylong meeting, looking at and commenting on each other’s pictures.

The meetings were held in member’s homes (those with a large enough sitting room) or, in the summer months, at a local Art Gallery. All the present members are very keen photographers and love showing their work to others.

Covid19 gave us all a problem, how can we continue with our photography and share our work with others of the group? What we decided was to each send 3 JPEG mages to all the members at up to one issue per week. This was not mandatory and some members take part when they have time and the urge to do so. We started the group’s email distribution in the first week of April so we are now in week 18. A selection of photographs, which have been shown around the group since the start of shutdown, are in this Creative Eye Magazine.

The Group is now at the next stage when we held our first Zoom meeting, on Friday 7th August.

Perhaps other CE SIG members may like to form a discussion group along similar lines I can give you advice – email: bazfree.photo@gmail.com

Arrangements for Covid 19 Shutdown We each send, by email attachment, up to three images each week, to all the other group members. Together with a small comment about each image. If you can't manage to take part every week we will forgive you!

Images must fit within 1920 x 1200 and be HQ jpeg, with sRGB colour space.

If possible, send brief comments back to the author and copy the rest of us.

Not everyone is on social media, so email and attachments ensures that everyone can participate.

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The Fisherrman by Gill Beckett ARPS

Fading Memories by Pat Frewin LRPS

Red Arrows by Bill Coles LRPS

Traction Engine Driver by David Ryland ARPS

Storm Approaching Aldeburgh Scallop by Barry Freeman ARPS

DISTINCTIONS

Early Rising

JAN HARRIS ARPS (FINE ART)

P

roducing an ARPS panel always seemed like an insurmountable challenge.

Fifteen prints that all work

Along the Thames

together and communicate ‘an individual’s vision and understanding’. Where to even start?

Other photographers assured me that I could reach the standard, although I didn’t completely believe them, but that still left the problem of having a style. I took landscapes and macro, travel and urban scenes, occasionally people – all sorts. Over I time I found that the images I was most satisfied with were my misty landscapes – perhaps I did 24

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have a style after all!

I looked at my catalogue and found I had about 10 images that I felt were good enough. Clearly I needed more images, but I was limited by when the mist occurred on mornings that I could get out to shoot. I decided to concentrate on taking images along the Thames close to home.

Fortunately the right conditions did happen on a few mornings, and I had what I felt was a good set of images. I took this set to the Landscape Group conference, where there was an informal advisory workshop with Paul Mitchell FRPS. He gave positive feedback, so I took the plunge and booked an assessment day in October 2019.

Ironically, just before the conference I had a couple of mornings with perfect conditions and took several good images. I didn’t have time to print them to take along to the advisory day, however, I added these to my set of potential prints to try out some rearrangements, and three of these prints went into my final panel.

One useful tip I was given is to produce 7x5 cm prints of your possible images,

Misty Calm 2

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Across the River

Church in the Mist

Misty Calm

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Thames Sunrise

so you can shuffle them around to try out various arrangements of your panel.

The final fifteen was narrowed down from over 30 images, looking for images that worked together and balanced each other in terms of colour and tone. The panel was re-arranged several times until I felt that it looked as good as possible, with a good transition of colours between the three rows.

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Applicant Name Assessment Date

ARPS Hanging Plan Misty Willow

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Jan Harris 16/10/19

STATEMENT OF INTENT

Membership Number* Category Fine Art

*If known

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I have always found the way that mist changes the landscape fascinating, hiding some details and revealing others, shifting and altering, creating an ephemeral beauty. A forecast of mist is, for me, the best reason to get up before dawn. I enjoy walking along the river watching the light change with the thickness of the mist and the rising of the sun. Only a few people – rowers, boatmen, and dog walkers – are awake to share this early morning world.

In my panel I aim to record the transient beauty of the misty riverside along three short stretches of the Thames.

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CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020 Save As Print

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VENTURING THROUGH THE SNOW MARTIN PARRATT ARPS (FINE ART)

T

wo lines of thinking converged to give rise to this panel.

Firstly, I love the transformative effect of fresh snowfall. Snow on roads briefly produces something beautiful from the otherwise mundane. Over several winters I found that occasional vehicles on these roads provided a good focal point for photographs, and a little colour, whilst the leading lines of tracks in the snow gave depth.

Secondly, I wished to create a painterly feel in the images. I was inspired by a magazine article featuring heavy grain applied to an image. I loved the effect and wished to try it in my own work. I realised that a minimalist composition was required and that my images of traffic in snow might be suitable. The heavy grain, happily, not only gave the look that I enjoyed, but also enhanced the impression of falling snow, and masked the text on number plates and commercial vehicles. A high key treatment completed the effect.

I thought that this project could give 28

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rise to a panel with which I felt a close connection.

My first submission was unsuccessful due to lack of variety. I updated the panel and submitted it for Online Advice. Still more variety needed! I identified some further images to address the remaining concerns and happily the third iteration succeeded.

The project was all done in the UK, most of it very close to home.

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

STATEMENT OF INTENT

Fresh snow on roads fleetingly creates an ethereal and dreamlike quality.

The light is superbly soft and gentle. Ordinary locations are transformed.

Mundane scenes of roads and verges are beautifully balanced and harmonized by a coating of snow. Traffic is generally light and tentative.

Only the brave venture out to battle through the snow. The silence is punctured only by vehicles taking centre stage in the falling snow, becoming anonymous form and colour. This panel aims to evoke the mood of these ephemeral conditions.

The ethereal mood is amplified by high key processing. Heavy grain enhances the impression of falling snow.

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HANGING PLAN

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CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

DIARY FIELD TRIP (DUNDEE) When: Postponed*

CREATIVE EYE GROUP MEMBERS’ 2020 EXHIBITION (SMETHWICK)

Cost: FREE

When: Postponed*

Time: 10.30am to 4.30pm

Cost: FREE

Where: Discovery Point, Discovery Quay, Dundee DD1 4XA

Time: Thursday evenings from 7.00pm to 9.30pm or by appointment.

CREATIVE EYE GROUP MEMBERS’ OPEN DAY A Presentation of members’ work and projects.

When: Postponed*

Where: Smethwick Photographic Society, The Old School House, Churchbridge, Oldbury B69 2AS, UK Event Organiser: Judith Parry judith.parry@blueyonder.co.uk, Telephone: 01314 274224

Time: 10.30am to 4.30pm Cost: RPS member £10.00, Non-member £15.00 Where: Whittlesford Memorial Hall, Mill Lane, Whittlesford, Cambridge CB22 4NE, UK

CREATIVE EYE GROUP MEMBERS’ 2020 EXHIBITION (EDINBURGH) When: Postponed* Cost: FREE

STAMFORD FIELD TRIP When: Postponed* Cost: FREE Time: TBC

Time: Wednesday evenings from 7.00pm or by appointment Where: Edinburgh Photographic Society, 68 Great King Street, Edinburgh EH3 6QU, UK Enquiries Sandy Cleland FRPS sandycleland22@gmail.com, Telephone: 01968 676271

Where: The Stamford Post (DJ Wetherspoon), 7 Sheep Market, Stamford, PE9 2QZ

POLINA PLOTNIKOVA FRPS (Online Talk) NAT COALSON ARPS (Lecture)

Creative Flower Portraiture and Still Life * SOLD OUT *

An inspiring and informative seminar presented by photographic artist, gallery owner and acclaimed speaker Nat Coalson ARPS. Organised jointly with the Creative Eye, Digital Imaging and the East Anglia Region.

When: Wednesday 29th September 2020

When: Cancelled

Where: Online

Cost: FREE Time: 19:00 (BST)

Time: 10.30am to 4.00pm Cost: RPS member £10.00, Non-member £15.00 Where: Whittlesford Memorial Hall, Mill Lane, Whittlesford, Cambridge CB22 4NE, UK

NAT COALSON ARPS (Online Talk) In collaboration with the Digital Imaging Group (SE) Details to follow on the website: rps.org/ceg When: Saturday 9th January 2021 Cost: TBC Time: 16:00 (GMT) Where: Online

* Postponed until further notice following government guidance relating to coronavirus.

For further details regarding events please visit the Creative Eye Group website: rps.org/ceg

CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020

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THANKS FOR READING ...and a big thank you to this edition’s contributors. We welcome submissions from Creative Eye Group members, so if you have a distinction success, story, image or a project that you would like to share, please let us know.

Feedback is very welcome and gratefully received. Please send your comments and suggestions to the editor.

CONTACTS Steve Varman (Editor) creative.publications@rps.org Website rps.org/ceg Social facebook facebook.com/groups/rpscg flickr flickr.com/groups/rps-creative

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CREATIVE EYE GROUP MAGAZINE NO. 83 SEPTEMBER 2020