Commercial documentary photography - controlling the uncontrollable by Nick Rains. Nick Rains is the Principal Instructor for Leica Akademie Australia. He brings thirty five years of broad experience as a professional photographer to his role, and he remains a working photographer, shooting assignments around Australia and the rest of the world. Nick is a Master of Photography with the Australian Institute of Professional Photography (AIPP) and in 2002 Nick was awarded Australian Geographic magazine’s Photographer of the Year and continues to shoot assignments for the magazine all around Australia. Nick is also a Leica Ambassador for the SL System, as well as the new CL System which works well when he wants to travel light, such as during a recents trip to Africa, Cuba and Myanmar. Post-production is another of Nick’s strengths, he is an acknowledged Photoshop and Lightroom expert and has been involved in teaching advanced courses in these two industry leading applications for the past ten years. Nick is also an ILFORD Master Printer, making fine prints for exhibitions and often takes on consulting roles with inkjet manufacturers.
Negative Space Competition
The Brief
- It is not uncommon for a judge to say ‘I would crop here as this does not add to the story’
- Negative Space is the opportunity to do the opposite and include vast amounts of ’empty space’ whilst the subject is small but obvious in the overall image space.
- But the key is that this ’empty space’ needs to be in harmony with the subject and actually enhances the subject by giving the subject a context that would be lost by a tighter crop.
- The ’empty space’ does not need to be a uniform colour or texture but it should be neutral and compliments the subject or adds context. Thus, busy backgrounds are not negative space.
- Look for the story as this type of image has to trigger the viewers imagination.
What you can learn:
- See the scene before composing and capture
- Is Manual with set ISO better than Aperture or Shutter Priority
- Learn to ‘see’ opportunities and compositions in situ
- Get out and about with your camera
Sports Action Competition
The Brief
- Any sport that showcases movement
- The movement can be frozen or has motion blur
- If frozen, it must be obvious that the captured action is the result of movement
- The action should be relevant to the sport depicted
- Look for the story.
What you can learn:
- Control of shutter speed to freeze action or to allow motion blur
- Be in the moment to capture that ‘instant’ when an action of interest occurs
- Use of continuous autofocus to maintain the subject in focus during the action
- Decision between Aperture Priority, Shutter Priority or Manual with Auto ISO
- Use of Back Button focus
Jesse Marlow is a Melbourne based photographer. His works are held in public and private collections across Australia, including the National Gallery of Victoria, Australian Parliament House Canberra, Monash Gallery of Art, City of Melbourne and State Library of Victoria.
In 2003, he published his first book of photographs, Centre Bounce: Football from Australia’s Heart, (Hardie Grant Books). Images from Centre Bounce have been exhibited and published extensively, both in Australia and internationally. In 2005, he published a book of street photographs, Wounded, (Sling Shot Press). In 2006, he was selected to participate in the World Press Photo Joop Swart Masterclass in Amsterdam. While in 2010, Marlow was one of 45 street photographers from around the world profiled in the book, Street Photography Now (Thames & Hudson). He was awarded the International Street Photographer of the Year Award in 2011, and in 2012 won the Monash Gallery of Art’s Bowness Prize. Marlow released his third monograph, Don’t Just Tell Them, Show Them in 2014. In the same year, he was profiled in the Thames & Hudson book, The World Atlas of Street Photography.
Marlow is a member of both the international street photographers’ collective, UP Photographers and Institute Artists.
This will be a Zoom presentation at the club as Jesse is based in Melbourne.
Closing Date: Midnight Sunday 25th February
Judging Date: Tuesday 27th February
Judge: Dennis Jones
Nature Set Subject Guidelines
This competition complies with the Australian Photographic definition for Nature.
- Nature photography records all branches of natural history except anthropology and archaeology. This includes all aspects of the physical world, both animate and inanimate, that have not been made or modified by humans.
- Nature images must convey the truth of the scene that was photographed. A well-informed person should be able to identify the subject of the image and be satisfied that it has been presented honestly and that no unethical practices have been used to control the subject or capture the image. Images that directly or indirectly show any human activity that threatens the life or welfare of a living organism are not allowed.
- The most important part of a Nature image is the nature story it tells.
- High technical standards are expected, and the image must look natural. Adding a vignette or blurring the background during processing is not allowed.
- Objects created by humans, and evidence of human activity, are allowed in Nature images only when they are a necessary part of the Nature story.
- Photographs of human-created hybrid plants, cultivated plants, feral animals, domesticated animals, human-created hybrid animals and mounted or preserved zoological specimens are not allowed.
- Images taken with subjects under controlled conditions, such as zoos, are allowed.
- Controlling live subjects by chilling, anaesthetic or any other method of restricting natural movement for the purpose of a photograph is not allowed.
- No modification that changes the truth of a Nature image is allowed. Images may be cropped but no other technique that removes, adds or moves any part of the image is allowed.
- Techniques that remove elements added by the camera, such as dust spots, digital noise and lens flare are allowed.
- Complete conversion of colour images to greyscale monochrome is allowed. Partial conversion, toning and infrared captures or conversions are not allowed.
- Images of the same subject that are combined in camera, or with software, by focus stacking or exposure blending are allowed. Multiple images with overlapping fields of view that are taken consecutively and combined in camera or with software (image stitching) are allowed.
- There is no separate wildlife section.
- Landscape images that depict nature at work that are not Australian landscapes are acceptable set subjects.
UNETHICAL PRACTICES
Can be but are not limited to the following:
- Live baiting
- Live feeding.
- Sacrificing a living creature. e.g. placing an animal on a feeding post to attract another animal or bird.
- Removing birds or animals from a nest.
- Disturbing birds in nests. e.g. removing branches to reveal nests and frightening birds nesting on the ground.
- Artificial restraints
- Reducing natural movement.
- Disturbing the natural environment.
For Roy Killen’s explanation of the definition see: Nature definition explained.
What you can learn:
- Choose the right depth of field. Photographing subjects in the natural environment can make for confusing backgrounds. Narrowing the depth of field can blur the busy background making the subject stand out.
- Nail the focus. If photographing a bird or animal, try and have the eye in sharp focus.
- For interesting landscapes that depict nature consider the composition, the rule of thirds, leading lines and balance to make a good image. Also look for patterns and texture or taking images with a different perspective.
- Consider photographing in the golden hour to create softer images.
Jure Kravanja was born in Celje, Slovenia, in 1960. He graduated in Sociology and Pedagogics in 1984. It was only later, in his forties, that he became interested in photography. The hobby quickly progressed into a passion, a way of life.
His work, concentrated mainly on abstract, architectural, and landscape photography, has been seen in publications such as Black & White Magazine, B Beyond and Foto Video; he has also taken part in several Slovenian publications on various subjects.
An established member of Onexposure and other leading online galleries, Kravanja has also exhibited at the New York Photo Festival, and garnered several international FIAP awards. Performing research at the Clinical Psychiatric Center Ljubljana Slovenia, his chief interest now lies in photography as a means of diagnostic and therapeutic treatment.
Closing Date: Midnight Sunday 24th March
Judging Date: Tuesday 26th March
Judge: Tim Moon
Set Subject Guidelines
A photograph of Australian natural land or coastal scenery, which may include people, buildings, animals, or other objects (example manmade roads/tracks & fences) provided these elements do not dominate the photograph.
Elements such as cultivated fields, farms and astrophotography are permitted but must not dominate the photograph. Seascapes with no land do not fit the section.
No modification that changes the truth of the Landscape image is allowed. Images may be cropped but no other technique that removes, adds to or moves any part of the image is allowed. This includes sky replacements.
Techniques that remove elements added by the camera, such as dust spots, digital noise and lens flare are allowed.
Complete conversion of colour images to greyscale monochrome is allowed. Partial conversion, toning and infrared captures or conversions are not allowed.
Images of the same subject that are combined in camera, or with software, by focus stacking or exposure blending are allowed. Multiple images with overlapping fields of view that are taken consecutively and combined in camera or with software (image stitching) are allowed.
What you can learn:
Composition in landscape images is vital in leading the viewer through the image. Before taking the image is there a clear subject and how do the elements of composition lead the viewer to the subject.
Shutter speed can convey action in seascapes, long exposures can flatten moving water emphasing the subject and slow shutter speeds can give a silky fell to moving water.
Nick is chief photographer at The Sydney Morning Herald, has specialised in environmental and
meteorological events such as storms and bushfires for 20 years, covering major events such as the 2001
Black Christmas, the 2003 Canberra fires, the 2004 Asian Tsunami and the 2009 Black Saturday, as well as
each storm season and several USA tornado seasons. Day to day he covers news in Sydney for the SMH,
where he has worked for 30+ years.
Closing Date: Midnight Sunday 21st April
Judging Date: Tuesday 23rd April
Judge: Linda Fury
Monochrome Set Subject Guidelines
- Any photograph containing shades of only one colour (including black and white).
- If toning is carried out, it must be over the total photograph; partial toning and/or the addition of one extra colour is not acceptable in a monochrome section.
What you can learn:
- Consider the tonal range of an image (range from white to black). An image that has a high tonal range can lift an image compared to a low tonal range that can appear flat.
- Images with busy backgrounds can be converted into monochrome to emphasise the subject. It is worthwhile experimenting with some images and see if there is an improvement when converted to monochrome.
JP Stones is a narrative photographer currently based in Mexico. He believes that photography is a
fascinating narrative medium because it lacks a key ingredient that feels essential to storytelling: time. It is
his belief that improving as a Narrative Photographer is often about learning to bring the illusion of time
into images. He describes how storytelling is powerful, but also confusing. How can one photo tell a whole
story?
In his presentation to the club, JP will help us understand how he adapts a story for photography, sharing
his most recent and amazing photos of one of the icons of Mexican history: the Charro – the original
cowboy.
CHRSLPC has an interclub competition with the Axholme Club in the UK every six months. In May Axholme chooses the competition set subject and in November Castle Hill selects the set subject. Axholme has chosen Street Photography as the competition set subject, we now require images to enter this competition. There is a UK judge and an Australian judge and the club with the best overall scores is the winner. Steet photography is a lot of fun, now is the time to practice some street photography and submit some entries.
As a guide most people do not mind if you take their photograph. Avoid children and homeless / distressed people.
Street Photography Definition
Street photography is a genre of photography that records everyday life in a public place. Street photographers capture spontaneous moments of people in a candid state, often without their knowledge. Street photography is not directed or staged, and it communicates the experience of everyday life and the vision of the artist by careful framing and timing.
Link to competition entry:
Closing Date: Midnight Sunday 26th May
Judging Date: Tuesday 28th May
Judge: Michelle Kennedy
Creative / Experimental Set Subject Guidelines
This month you have freedom to do whatever you want so long as you add a creative aspect in your image. You can think of double exposures, zoom or panning, a fabricated scene, composites, altered reality and painting with light. The possibilities are endless. The challenge for you is to try something new. That is why we added “Experimental” to the title.
- This is an image that has been created in camera (for example motion blur, double exposure) or had post processing manipulation and artistic effects added.
- The image must have a basic photograph origin; the original exposure and all post processing must be the work of the Image Creator.
- The storytelling element of the image should be considered.
- Art appropriation is not permitted. The use of other people’s artwork in images as a dominant element is not permitted.
- Ways of creating a digital art image include but are not limited to:
- Different opacities -several views of the same person or main subjected blended into one image using different opacities.
- Multiple Exposures – photographing an activity at continuous exposure capturing movement and then blending several exposures into one image.
- Stepping out of the frame – placing part of the image outside the frame to give a 3D effect.
- Blended – two or more images taken in different place blended into one image to create a completely new scene and tell a new story.
- Double Exposure – where 2 images are blended into one image (either in camera or in post processing)
- Filters – Filters are permitted provided they do not introduce a new element to the image that the Image Creator has not created themselves. For example, the sky replacement filter should use your own image. Stock images are not permitted. Filters which add a texture or pattern are permitted provided the texture or pattern has been created by the Image Creator. Imported textures & patterns are not permitted.
- Creative Abstract – Can be made using distortion tools such as the liquefy tool. A creative abstract does not represent a true record of the subject.
- Composite Images – whether they are of a realistic scene or an unrealistic scene, using editing techniques to build a scene from different elements (all of which have been photographed by the Image Creator). Stock images are not permitted. Clip art is not permitted.
- Vector/Raster Layers – The use of basic tools/brushes in photoshop are permitted to create Vector/Raster Layers provided the contents have been created by the Image Creator. Custom tools/brushes/textures must have been created by the Image Creator. Vector/Raster Layers can only amount to 50% of the image.
What you can learn:
- This is the time to think outside the box. The image needs to relate to a theme / story or has impact due to its shape and / or colour.
- Research to gather ideas that can be built upon.
Bill Ward is a multi award winning British actor and photographer, born and raised in Newcastle-upon-
Tyne, in the UK.. As an actor, Bill has appeared in over 30 TV Shows and Films, and over 50 Plays since
turning professional in 2000. As a photographer, Bill is self taught, and has been taking photographs
since he was 6. Bill has won many awards and commendations, both nationally and internationally,
including the Adobe Prize at UK Landscape Photographer of the Year, and Best Seascape at Scottish
Landscape Photographer of the Year.
Constantly in search of peace and quiet, his photography is a response, and in many ways an antidote, to
the time he spends as an actor working in the public eye. His primary photographic interest is
landscapes, whether natural, urban or industrial. He is specifically drawn to water – and will
be presenting to the club about his experiences shooting water. If this presentation is as good as the one
he delivered in 2023 on Intentional Camera Movement, and Multiple Exposures – this will be one not to be
missed.
Closing Date: 22nd June
Judging Date: 25th June
Judge: Ray Williams
Portrait photography is about capturing the essence, personality, identity and attitude of a person utilising backgrounds, lighting and posing. An image becomes a portrait when the image can evoke a sense of connection between the viewer and the portrait photograph.
The image may range from a head study to full body length and may include candid and formal images.
For this competition “group” portraits are not eligible.
What you can learn:
- How to engage with your subject to make them relaxed.
- Research the range of poses to create an effective image.
- Avoid harsh light. Soft light can be generated from a window, studio lighting or a flash.
- Use the golden hour to take images outdoors.
- Use a reflector to create the light that is desired. If reflectors are not available use a bight wall or other surface as a reflector.
Russell is a Photographer working in digital and analogue, based on the Gold Coast – and has photographed
well-known Australians from a wide range of fields, including writers (Tim Winton), sportsmen (Steve
Waugh); politicians (Gough Whitlam). His work has been published in many national magazines and
newspapers, Awards include The Moran Contemporary Photographic prize, Black and White Photographer
of the Year, National Photographic portrait prize, Olive Cotton Exhibition and Walkley Award for Journalism
(best news photograph).
Russell’s works are in collections at The Queensland Art Gallery, Tweed River Art Gallery, Redcliffe Art
Gallery, and The National Portrait Gallery. Russell is an Ambassador for Leica Camera Australia. Russell
will be taking members on a journey telling the story of his Documentary portraiture work.
Closing Date: Midnight Sunday 21st July
Judging Date: Tuesday 23rd July
Judge: Bill Chambers
Rush Hour Set Subject Guidelines
Rush hour refers to the time of day when most people are commuting to and from work by many different modes of transportation. People may be rushing along a street or running to catch a train.
Your image should convey the hectic or unique nature of this period of the day or evening.
What you can learn:
- Experiment with camera angles to create dramatic effects.
- Control of shutter speed to freeze the action or to allow motion blur.
- Consider monochrome for busy images.
- Decision between Aperture Priority, Shutter Priority or Manual with Auto ISO.
Closing Date: Midnight Sunday 25th August
Judge: Don Dickins
Panorama Set Subject Guidelines
Panorama refers to a wide and unbroken image. The aspect ratio determines if an image is a panorama, an aspect ratio of 2:1 or more is the accepted definition. All the elements of the panorama should work together to convey a story.
What you can learn:
- The use of software to create a Panoramic image by stitching multiple images together.
- If stitching the requirement is to have all the camera settings in manual mode so that all the images making up the panorama have identical exposure, colour temperature, ISO and focus.
Due to a communication fail during the handover, the presenter, Graeme Gordon booked a holiday.
Michelle Kennedy will explain the new Interclub category definitions. For those who have looked at the wording of the definitions, you will be surprised to learn that the interpretation of those new categories is much broader than the words suggest. Many of our images would fall into one or even more of the categories. The interpretation is much more liberal than you may think.
As members are needed to submit images to the Competition Committee, this presentation is very timely and helpful. So, please attend.
The definitions can be found here
If time permits, then Michelle can talk about other of her presentations from the bag of excellent talks that she gives.
A night not to be missed!!!
Closing Date: Midnight September 22nd
Judging Date: Tuesday 24th September
Judge: Nic Peters
Water in Motion Set Subject Guidelines
Capture water as it moves, with the water being the main subject of the image.
Water taken with fast shutter speeds can have dramatic impact with high volumes of water, slower shutter speeds smooth out the movement of water. Creative images that have moving water are acceptable.
What you can learn:
- The effect that different shutter speeds have when photographing water in motion.
- The need to use low ISO and possibly neutral density filters to obtain slow shutter speeds in bright light.
- Use of a tripod to keep stationary elements of the image sharp but have the water blurred.
Graham Cam, the original presenter, is running the Birdlife Australia Photography Competition and is also preparing for an exhibition, and so he felt that he would not be at his best for the presentation.
As Fina Art Printing is a new category in the FCC Interclub, it is fortunate that Neville Thorogood is able to give a presentation on fine art.
Neville will cover his journey in photography and why he moved towards fine art and fine art printing.
Neville is a former member of CHRSLPC and is currently a member of the Wangi Workers Camera Club and also The Entrance CC. It is in these clubs that Neville has been ‘pushing the envelope’ with his remarkable images.
This is a timely presentation given the new FCC Interclub categories.
The Image of the Year Competition is available for all previous 2024 Competition entries that won an award. Either Image of the Month, Merit, Credit or Acceptance. Each member will be allowed to enter a maximum of 4 Images across Digital and Print. Digital Images entered during the year can be entered in the print section. There will be awards for Image of the Year Digital, Image of the Year Print and the Keith McGaughran Perpetual Trophy will be awarded to Image of the Year either Digital or Print.
Closing Date: Midnight Sunday 20th October
Judging Date: Tuesday 22nd October
Judge: Doug Carley
Playing with Artificial Light Set Subject Guidelines
Artificial light refers to any light that’s not produced naturally. The light source excludes the sun, moon and stars as the dominant light source.
Be creative and use a light source or light sources to create an image that has impact. Light can be generated through streetlights, car headlights, torches and light painting tools. The light is to be added to the exposure whilst the camera shutter is open.
The use of light that is synchronised with the camera shutter in the form of a flash is excluded from the competition. Portraits of people, close up images that use studio flash or studio lighting are also excluded from this competition.
What you can learn:
The effect that different light forms can have on the impact of an image.
- Experiment with some composite images that tell a story with some creative lighting.
- Experiment with changing the colour of the light in post-production. The light source must be captured by the camera.
Tuesday 5 November – Pete Farrington – Aviation (Zoom – from the UK) – fee to confirm (May be a donation
to charity)
Peter is an author and photographer specialising in military aviation photography. Within recent months, Peter has retired from the RAF and pursues his passion in photography. Over the years of being a member of the Royal Air Force, Peter was lucky to be in the position to capture many fantastic aircraft up close and personal – from the ground, and from the air.
Peter uses photography to keep the stories of those who serviced and flew aircraft, alive. He is a fantastic story teller, and will use his great images, to take members on a journey into the skies, and the past.
Closing Date: Midnight Sunday 24th November
Judging Date: Tuesday 26th November
Judge: Graham Cam
Panning Set Subject Guidelines
The image is to be taken while panning the camera. Blurred backgrounds must be created by the camera movement and not the use of post-production software.
What you can learn:
- Experiment with shutter speeds to determine what parts of an image show motion and add to the story.
- How changing the shutter speed can affect the clarity of the subject or parts of the subject and blur the background.
- Practice panning through using the hips to turn with the subject with the arms close to the body.
