H.P.S.

   H.P.S.

Issue 96   May 2006

What a good read the first viewfinder was, made us laugh. Here is that (don’t know about being short) article you were after. As you are aware I do enter as many competitions as possible. Firstly, it gets your name out there and secondly, it gives wider exposure for your images. With regards to photo magazines it only costs the price of two stamps, so it’s only your pride and not your pocket that takes the knock. There is no formula other than fitting the criteria so always read the rules.

The image used for Practical Photography’s Winter Landscapes was reasonably easy to fill. I sent in the maximum entry: two images - one mono the other colour just to hedge my bets and then luck, to a certain degree, takes over. So to sum up, I filled the brief, in this case a moody black and white did the job (mono being definitely in) and bingo I was a winner.

So I won with a final score of 265

For Photo Monthly I employed a different strategy. The categories are only published at the start of the competition to allow time for you to take the required images. I entered Round 1 (Woodland Landscapes). No points! The points system works from 100-5: 1^st place to 20^th. Round 2 was British Landscapes, I received 5 points, 20th! Not a good start but never to be deterred, the image I chose for round 2 was of hill walkers on a ridge. Round 3 was Landscapes from anywhere else and I chose a Bahamian seascape. It came 7^th which equals 70points. Round 4 was black and white landscapes, and I entered a mono of the Alps with 2 skiers silhouetted. Seventh again so another 70 points. Round 5 was entitled Abstract and for this I chose an image taken in the Tate Modern of persons climbing the stairs. Exposed at f5.6 for 1 hour! It got 11^th place so 50 points and I was starting to feel confident. By this time I had amassed 195 points but not won any round. I was also tying in 1st place with Katya Evdokimova. She had won one round and was runner up in another. It was looking precarious. Round 6 was entitled Autumn and I drew a blank. I thought Katya would overtake me with her creative photography but to my delight she also drew a blank. So to the last round (the 7^th) entitled Indoor Winter Projects. I entered the shot of a nude Maggie (discreet); the only one of that genre I had. It got 7^th so another 70 points. Katya did not score in that round so I won with a final score of 265. But Katya is certainly a name to look out for.

(Thank you, Ron, for your kind comments about the last edition of the Viewfinder – members please note if you say nice things you get the front page! Only sometimes though. And thank you for your interesting article. It does show clearly that tenacity works; if Ron had given up after his first couple of entries to the Photo Monthly competition had ‘bombed’, he would not have succeeded – Ed)

We meet every Thursday and talk to each other, but how much is known about the membership as a whole. How many members are purely digital workers, film workers, slide workers or a combination of all three? How many print digitally, use a darkroom, do both or do not print their own work at all? What type of evenings do members prefer: lectures, recorded lectures, competitions or practical evenings. And on what subjects; and whether internal or external speakers? Should there be more competitions, or less? Should they be judged by an external judge or by the membership or is just a critique required? Should there be separate competitions or should we keep existing competitions but split up the marks so as to have two leagues for the members new to photography (and not just having joined from another club).

There are two photographic exhibitions at the Host Gallery, 1 Honduras Street, London, EC1 showing only until the 7 May. The first is by the Polish American photographer, Weegee (Arthur H Felig), a press photographer who got his nick-name from always being the first at a crime scene with the prescience of a Ouija board, The images were taken between the 1930’s and the 1950’s and show the seedier side of New York. Shot mostly at night by flash-bulb, it’s not for the faint hearted as you find yourself staring into the eyes of murderers, their victims and those grieving for loved ones lost in an house fire. Weegee has been credited (blamed?-Ed) for ushering in the era of tabloid photography. Also showing is an exhibition entitled Cruel Sea by Spanish photographer?? Juan Medina whose work is more up to date but just as disturbing.

His images explore the plight of African migrants who make the hazardous journey from West Africa across the Atlantic to Fuerteventura in the Canary Islands. In one picture, the island’s tourist image is confronted by the darker form of international travel, as a couple are seen walking along a beach at sunset, with the covered corpse of an unsuccessful migrant in the foreground. The exhibition is free, it’s open Mon – Fri 10am to 6pm, further information from the gallery on 020 7253 2770 or www.hostgallery.co.uk

“My favourite subject is women. Beautiful women. I don’t have a favourite; each is beautiful in her own way. But Raquel Welch and Michelle Pfeiffer are fantastic.”

Emilio Lari

Another exhibition shows the skills of 60’s photographer, Emilio Lari. An ex-rugby player it was he who paradoxically had the ability to fade into the background and secure exclusive access to stars such as Marlon Brando, Robert DeNiro, the Beatles, Raquel Welch and Michelle Pfeiffer. The exhibition is called Back to HELP! Beatles and Vintage Film Photography and it’s at the Proud Gallery, Stables Market, The Gin House, London, NW1. Open until 14 May (10am to 7pm Mon to Thurs and 11am to 6pm Fri to Sun). Best of all it’s free.

(If any member does visit this or any of the exhibitions, or the workshop, do let us know what you thought – Ed)

From the President’s Studio