This is the last competition of the “season” – for it seems that photography, or at least camera clubs, are surprisingly seasonal. I did float an idea that I shall pursue a little given the opportunity that there might be a “photo-shoot” or two during the recess, and I do hope that might come about – more on that anon, I hope.
This last attempt then is unpretentiously known as the “Print of the Year” competition, into which we are allowed to enter three prints; there is a parallel event for digital images, but I’m not going to go there at this stage. I’ve chosen three prints then, and while they’re all in other blogs, I’ll reproduce them here if only to remind myself why I might consider them to be my prints of the year – if no-one else’s! First up is the Deep Lock at Tuel Lane in Sowerby Bridge. I’ve titled this “Angles in Tuel Lane Deep Lock” for what I think are fairly obvious reasons. It’s full of horizontals, verticals and diagonals and the visually strong triangle appears many times. I also like the play of light and shadow on what was a very bright day, and the ascent from the murky depths in the bottom right hand corner. There is an obvious “journey” here too, across the bridge, up the steps, along the paving and then back over the higher bridge. It has a sort of architectural feel to it, and I think it works well in monochrome, which in itself I find pleasing.
Second is the “sculpture” if that’s the correct genre which spans the river running through Lincoln. I’ve called it “Seven and Three” as a reference to the pigeons who so obligingly perched on the outstretched arms. Birds apart, I find the image to be full of hope and optimism, even of a certain “joie de vivre” which I really enjoy. Again it works well in monochrome; the shadows on the figures etch the structure quite well, and the whole contrasts well with what in reality was a clear blue sky.
Third, and perhaps my favourite in the end, is titled “Bridge Art”. This was made on the Leeds & Liverpool Canal. The structures themselves may not be intrinsically beautiful and indeed are somewhat scruffy – not chocolate box lid material this (which is I think part of its appeal to me) but their shapes and liners curve and flow, augmented by their reflections and thus form an “artistic” frame for the graphiti. They also of course frame that which is seen through the bridge, giving us two images within the image – the static human creation alongside the dynamic curve of the canal and its towpath and vegetation.
So I’ll offer these up for consideration and the judge can either like them or not!