“External Competitions” with Tony Marsh, 8th January, 2020

It seems that every organisation concerned with work or play is littered with a plethora of acronyms.  The world of amateur club photography is no different and many of them are confusing.  Additionally, throughout the year Keswick Photographic Society (KPS) takes part in a number of external competitions at local, regional, national and international levels.

So, to kick off 2020 and ensure everyone of our members start the new year with 2020 vision Dr Tony Marsh our External Competitions Secretary took it upon himself to clear away the fog with his usual clinical precision and explain how each competition was managed.  I’m sure the readers of the Keswick Reminder will be quite relieved to know that I’m not going to explain in fine detail those extremely convoluted processes which only bored bureaucrats could dream up.  The processes and rules also differ for each competition seemingly to get tweaked on an annual basis for the sheer aggravation of it (and possibly in a vain attempt to stop Keswick winning!).  Suffice it to say that KPS consistently punches above its weight locally, regionally and internationally.

The Photographic Alliance of Great Britain (PAGB) is divided into a number of regions and Keswick is one of 49 affiliated clubs in the Northern Counties Photographic Federation (NCPF). The NCPF annual competition is made up of 20 categories, including such as Landscape prints, monochrome prints, natural history projected images, beginners etc., etc. for which all 49 clubs compete. Keswick Photographic Society won 9 of the 20 trophies on offer.  This was a remarkable achievement for such a small club. KPS won the club trophies for both colour prints and for projected digital images (PDIs).  Carol Minks, David Woodthorpe, Julie Walker, Tom Stenhouse, Tony Marsh, David Leighton and Deborah Tippett each won individual category trophies.  As the most successful club, this meant that KPS represented the northern counties in the national prints and projected images competitions where the best of the near 1000 clubs competed. We did not finish in the top ten but nevertheless performed creditably in such accomplished company.

On the international stage KPS has also excelled.  The Photographic Society of America (PSA) is open to every photographic society in the world, though clearly not all join.  We joined three years ago to compete in both the open league and in the natural history league and we were initially assigned to the third division.  After two promotions in two years we have now found ourselves competing in the premier division and even managed to achieve third place in the top division at the end of last season.

As well as providing the explanations, Tony showed some images from the national competitions so that we could all get a better understanding of the high standard of those clubs from around the country who are successfully competing at the highest level. Tony was thanked for putting in a great deal of work to produce what turned out to be a very revealing and educational evening.

The next meeting of Keswick Photographic Society is 22nd January when Richard Speirs will judge members’ entries into our third open competition of the season.

David Woodthorpe

“City Life”, Short Sets Competition, December 11th, 2019

The third Set Subject competition of the season, titled ‘City Life’, took place on Wednesday 11th December. The real purpose of the set subject competitions is to give  members a chance to submit pictures in a more relaxed way since, unlike the Society’s Open competitions, the marks awarded do not go towards the season’s photographic league. In addition, they also give members the opportunity to see how they can improve their images and photographic techniques. The judge for the competition was Alan Walker, a society member from Ambleside. Alan judges at Open Exhibitions, the Northern Counties Photographic Federation and both club and inter-club competitions and he holds distinctions with the Royal Photographic Society, Photographic Alliance of Great Britain, Photographic Society of America and Federation Internationale Del’Art Photographique. Alan enters the Society’s Open competitions so cannot judge these but the Set Subject competitions are a separate set of competitions so, in this competition, Society members had the chance to have their images judged by him. Before Alan commented on the digital images, he described the competition as a bit of fun but also competitive and technical with the extra dimension of how to interpret ‘City Life’. Alan stressed the importance of adhering to the theme as defined by the title of the set subject, although members had been told that towns could also be included so as not to exclude anyone who didn’t regularly travel further afield. City life in cities and towns across the globe featured in the entries as well as one image taken in Keswick.

Members could enter up to three images and, in total, 46 digital images had been submitted. Five images received top scores of twenty and two of these were by Aline Hopkins, whose third image gained an excellent score of nineteen, making her the highest scoring photographer in the competition. Aline’s top-scoring images were ‘City Walkway’


and ‘Night Crossing’, both taken in Tokyo with the latter image featuring the famous Shibuya Crossing.


The other three images awarded top scores were ‘Pigeon Fanciers, Havana’ by Keith Snell,


‘Isolated in a Busy World’ by David Woodthorpe


and‘Traffic Flow, Venetian Style’ by Tricia Rayment.


Three images were awarded scores of nineteen and these were ‘Night Market, Kolkata’ by Tony Marsh,


‘City at Night’ by Sue Rugg


and ‘Morning Ablutions’ by Aline Hopkins.


A grand total of eleven images achieved scores of eighteen and these were ‘Krakov’, ‘All Roads Lead to Putin’ and ‘Railway Line Market, Peru’, all three by Stephen Harris; ‘Don’t Argue, ID Please’ and ‘Ligurian Morning Tide’, both by Keith Snell; ‘Belfast Wall’ and ‘Church in Hiding’, both by Philip Cartwright; ‘Early Morning Delivery’ by David Leighton; ‘Circular Architecture’ by Tony Marsh; ‘There’s an Elephant in the Room, Berlin’ by Tom Stenhouse; and ‘Frauline Bland Goes Running’ by David Rayment.

All the images can be viewed on our gallery page:

2019_2020 galleries

At the end of the judging, members had time to ask questions and then Alan was formally thanked for all his hard work judging the images and for giving such a good critique of our pictures.

“A Look at RPS Distinctions”, 4th December, 2019

The latest meeting was a departure for the Society with an evening highlighting two of the distinctions that can be awarded to photographers by the Royal Photographic Society. It was founded, almost unbelievably, in 1853 under the patronage of Queen Victoria and has the Duchess of Cambridge, a photographer herself, as its current royal patron. The distinctions are made to individuals on the basis of collections of their photographs organised and presented as a panel. We were fortunate to have three club members and two visitors who guided us through their successful panels, two at Licentiateship level (LRPS) and three at Associateship level (ARPS).

Julie Walker started the evening by presenting her LRPS panel and explaining both the requirements for entering for this distinction as well as guiding us through her prints. The optimal print size recommended is around A4 size in a 21 by 16 inch plain white mount. The aim of the LRPS distinction is to recognise the photographer’s proficiency in various photographic techniques. Julie’s images included a mix of landscapes,


mainly from Yellowstone national park, and wildlife images taken under different lighting conditions, at different focal lengths (from close-ups to distant views), with different depths of field to show the effects of having only the main subject sharp or the whole image pin sharp.

For this level ten prints are required which are usually presented as two rows of five in a balanced arrangement so that, for example, vertical portrait format prints might bookend the panel at each extreme with landscape or square format prints in between.


Julie arranged for corresponding images to appear on the two rows, such that landscapes were positioned above each other and her raptor bird images were positioned above each other. The importance of a visually pleasing balanced panel is emphasised by the requirement to submit a hanging plan to show precisely how the prints should be displayed for judging. There are five assessors and a chairperson doing the judging and after a period spent examining the prints they each pronounce an indicative judgment of pass or fail. One assessor recommending pass and one assessor recommending fail then present their reasoning with a critique of each photograph in the panel. The chairperson may well intervene during these discussions with guiding principles or other observations. After this a second and binding vote is taken with the opportunity for assessors to change their original judgements and the award is made or not on the basis of a simple majority.

Aileen Hopkins also presented her LRPS panel which was a mixture of travel photographs from Burma and Singapore which included individual portraits and people groups as well as urban and rural landscapes and achitectural images, with some taken indoors in low-light conditions. Again, her prints demonstrated a command of different photographic techniques and were arranged in a visually balanced panel.

The ARPS distinction panel is very different with fifteen prints (in three rows) reflecting a single theme within a specific genre and which together demonstrate the development of a cohesive photographic style. This requirement is emphasised by the need to present a written statement of the intentions and aims of the panel as well as a hanging plan for the display. Linda Duncalf showed her very distinctive fine art panel of creative multi-exposure  images of trees.











In these two or three images were overlaid to create each print using an app on her mobile phone.











All her prints were printed on the same photographic paper and at the same square size.


Carmen Norman’s ARPS panel was also in the fine art genre but was a collection of delicate Lake District landscapes all of which were suffused with mist to varying degrees. The emphasis on misty scenes meant special care was needed with the choice of paper (Permajet Distinction) to allow the warmth and detail of the mist to shine through the images.


The final ARPS panel was in the travel photography genre and was presented by Tim Hancock from Junction 36 Photo Club near Kendal. His theme was people in Paris, including visiting tourists and locals at work and play. All prints were 10 by 8 inches on a lustre photographic paper. Tim emphasised the need in the travel genre to have a central print in the panel arrangement which defined the location and so tourists around the Arc de Triomphe with the Eiffel Tower in the background fitted the bill perfectly.


All the presenters were enthusiastically received by an audience who were appreciative of the quality and variety of prints on show as well as gaining an understanding of the distinction requirements and the inspiration to perhaps have a go themselves.

Keith Snell

Ken Rennie, “Processing Landscape Images”, November 27th, 2019

On Wednesday 27th November Keswick Photographic Society members were given an excellent live digital demonstration by award winning photographer and member of Keswick Photographic Society, Ken Rennie. Ken has had work accepted in a number of prestigious exhibitions including Landscape Photographer of the Year and Edinburgh Festival Exhibition and has been published in Landscape Photography Magazines. He has been a member of the Society for over four years and has contributed in Keswick’s success in both international and national photographic competitions.



Ken travels far and wide in search of his amazing landscape photographs, but favours his native Scotland to provide most of his evocative images. Although he does present his work digitally his preference is for fine art printing to show his work off to its fullest extent.

Ken’s enthusiasm for his subject shone through as he treated members to this live demonstration. He showed how he achieved his award-winning images together with new, never seen before images, in which he invited members to help him in choosing appropriate treatments for lighting, crop and colour balance, thereby helping the understanding by members of the process.

The second half of the evening was taken up with Ken showing his  ‘fixes’ to improve images by removing distracting matter and annoying artefacts, often caused during the post processing by software and ‘tips and tricks’ for adding light, mist, sharpness and colour where necessary. This proved very popular with members who kept Ken going way past the usual finishing time with requests to see more techniques for achieving the high-quality images he is known for.

Rydal Dawn:


The talk contained a high level of technical information as one would expect of an evening demonstrating the processing of RAW photographic images in Photoshop, but Ken delivered it with his dry sense of humour and made it totally inclusive for all levels of experience by demonstrating techniques several times and taking question as he proceeded.

Ken has produced a set of notes from his talk which members can access from the member’s page of the website

Everyone enjoyed Ken’s fun evening packed full of tips on how to improve our photographs and he has been booked for another evening next season to show how he produces his amazingly power monochrome images.

Alan Walker

2nd Open, November 20th, 2019

The Society’s Second Open Competition took place on Wednesday 20th November and the judge was Gerald Chamberlin, DPAGB, EFIAP from Carlisle. Gerald is a Northern Counties Photographic Federation judge, judging club, inter-club and Federation competitions. Although for this competition all the images were required to have been taken in the British Isles, there was still a wide range of photographic genres entered, including nature, creative, landscape, sport and portraiture. Gerald commented on the high quality of the photography and printing which made differentiating between the images, as regards scoring, far from easy. The prints and digital images were given a score out of twenty and, before awarding the score, Gerald discussed each image, commenting on the good points and often suggesting where improvements could be made.

The judging commenced with the thirty-four photographic prints. Three pin-sharp images were awarded a top score of twenty: ‘Be My Valentine’ by David Woodthorpe which featured a delightful image of two harvest mice perched face to face on top of a drooping pink rose;


‘Whose Idea Was it to Shelter Here’ by Alan Walker, a captivating image of two little owls sheltering from the rain under a large leaf;


and ‘Gannet Coming in to Land’ by Tricia Rayment.


Gerald selected ‘Be My Valentine’ by David Woodthorpe as his overall winning print image. A score of nineteen was awarded to four images: ‘Little Egret Strike’ by Tony Marsh; ‘A Brief Encounter’ by Alan Walker; ‘Brown Hare’ by Ronnie Gilbert; and ‘Skye Blue’ by Ken Rennie. A further eight images received scores of eighteen: ‘Meadow Pipit with Insects’ and ‘Razorbill’ both by Carol Minks; ‘Angel Descending’ and ‘Redshank on Duddon Sands’ both by Keith Snell; ‘Male Stonechat on Gorse’ by Tricia Rayment; ‘Preparing to Dance’ by Julie Walker; ‘Early Morning Glen Affric’ by Ken Rennie; and ‘Dirt Bike Riders’ by Ronnie Gilbert.

After the break for tea and cake the forty projected digital images were judged. ‘Backlit Kestrel with Mouse’ by Alan Walker


and ‘Barn Owl Dispute’ by Julie Walker both achieved a top score of twenty. The overall Digital Image of the Competition was awarded to Julie Walker for ‘Barn Owl Dispute’, a superbly captured image showing the interaction between two barn owls having a dispute.


Gerald awarded high scores of nineteen and eighteen to a total of nine images. Three images scored nineteen: ‘A Lucky Find’ by Marilyn Woodthorpe, ‘Spot the Ball’ by Alan Walker and ‘Kingfisher on a Bullrush’ by Ronnie Gilbert. Images scoring eighteen were ‘Red Squirrel in Rain’ by Julie Walker, ‘Fluffed Up Goldfinch’ by Tony Marsh, ‘A Sustainable Future’ by David Woodthorpe, ‘Introspection’ by Keith Snell, ‘The Splash Pool’ by Ken Rennie and ‘Taking Flight’ by Tom Stenhouse

All the images can be viewed on our gallery pages

Images entered into our 2019-2020 internal competitions

Tom Langlands: November 13th, 2019

This week’s talk was given by Tom Langlands. Tom worked as an architect, but since retirement seems to have become even more full time a photographer, mostly concentrating on wildlife, and this talk was about British wildlife in particular. Starting from his beginnings of interest in the natural world, which he attributes to his mother taking him to a rich area of marshy ground close to their home in Dundee.


Tom showed us a Water Rail, Barnacle Geese and wild Whooper Swans from Caerlaverock, Red Squirrels from near Lockerbie, Red Kites from Galloway, Bottle-nosed Dolphins leaping high out of the water in the Moray Firth, Red Deer and Sea Eagles from Mull, Puffins and Arctic Terns from the Western Isles, Gannets from Bass Rock and Starling murmurations near Gretna amongst others.


But it was not just the excellent photographs which made the talk so special, Tom was generous in his advice about how he makes pictures that draw the viewer into the world of the animal he is portraying. He stresses the importance of spending a long time with each indivdual he wants to photograph. This has the double benefit of the bird becoming relaxed in his presence, happily carrying on with its normal routine and allowing a close approach, but also Tom then gets to be able to predict where the bird is likely to go, what perches it uses, what route does it take to its nest. This allows him to be positioned in just the right place to catch the killer shot, and very frequently this means being really low to the ground to get on to eye level with is subjects; he carries an old camping mat in the car which he habitually uses in the field. He will then make small adjustments of side to side position to achieve the best background as possible.


Backgrounds in nature shots are incredibly important in allowing the subject to stand out free from background clutter or bright distractions that draw the eye and with luck the background colours will be complimentary as well. Such a painstaking but productive approach was exemplified by spending five days getting to close terms with a Water Rail, an incredibly shy and secretive inhabitant of reedbeds in Caerlaverock Wetland and Wildlife Reserve. The results are stunning, and all the better for being rarely achieved.


As well as explaining how and where he takes his photographs, Tom gave fascinating details about the life history of many of the species he showed. It is obvious that he is a naturalist primarily who also takes, (very good), photographs and his passion for nature conservation shone through. Some of the messages were positive, the numbers of Barnacle Geese wintering on the Solway has increased from 300 in the post WWII era to 400,000 now mostly due to the protection of adequate feeding areas at Caerlaverock. There is the downside, however, that the climate crisis is melting the ice around Svalbard and Polar bears there, deprived of the option of going out onto the ice to hunt seals, are so hungry that they attempt to climb the cliffs where some of the Barnacle geese nest and many bears fall to their deaths.

Tony Marsh

Stephen Cheatley: “The Astro Landscape”, November 6th 2019

On November 6th Stephen Cheatley travelled up from Blackpool to entertain and educate members and a significant number of visitors with his presentation “The Astro Landscape”. Stephen is a professional photographer whose biggest passion is photographing the night sky. He won the Royal Meteorological Society, Weather Photographer of the Year in 2018 with his night-time photograph of a lightning storm over Blackpool.


Stephen explained how his interest in astronomy started watching programmes such as “The Sky at Night” and was further developed watching “Stargazing Live”. A pivotal moment for him was when he splashed out and took an “Aurora Flight” from Blackpool airport. There was no aurora borealis to be seen that night but Stephen was inspired by the witnessing amazing views of the Milky Way from the darkened plane.

Stephen then went on to describe some of the locations where he takes his night-time images from. One of the factors he has to take into consideration when taking landscape photographs is light pollution. He showed a map on which the main origins of light pollution in the north of England are located and also showed images on which it could be seen how far light pollution actually extends. With careful consideration of time of year, the night sky, and location, Stephen is able to take photographs with minimal light pollution contaminating them.


With star charts and his own images Stephen was able to highlight to us the main features of the night sky and those features which are most suitable to be photographed. He also gave us practical advice such as how to locate Polaris, the North Star and how use of relatively inexpensive tracking devices can track the night sky to enable longer exposure times without the stars becoming blurred. In contrast he also showed how very long exposure times with no tracking of the night sky can produce very different “star trail” images with the moving stars creating a series of concentric circles around the North Star.


There were several images of the Milky Way and Stephen explained how it progresses across the northern sky during the year and how various parts of the Milky Way become visible as it moves. He advised members of the audience who had not tried astrophotography before that it is really quite easy, with a little planning, to take impressive photographs of the Milky Way. The only real necessity as far equipment is concerned is a sturdy tripod to hold the camera steady for the long exposure times. All that is needed of the camera is to be able to open the shutter for long enough.

Picture saved with settings embedded.


Stephen finished his presentation with a series of lunar images. He was able to demonstrate how using lenses of differing focal length can result in dramatically contrasting compositions of the moon and foregrounds.

Julie and Alan Walker “Discovering Nature Photography Part 4 – Japan and Beyond” October 30th

At our meeting on 30th October we were treated to another superb collection of natural history photographs presented by two of our more experienced and active members, Julie and Alan Walker. This was the fourth in a series of their “travel shows” and concentrated on images taken in winter, but in a wide series of locations.

Their journey started in Japan in deep snow and temperatures as low as -20°C with a delightful series of mainly close ups of Japanese macaque monkeys bathing in hot spring pools.


Alan explained that close-ups were one option of managing the steam from the pools and the hosts of fellow photographers and tourists surrounding the pools. He then described the difficulties and gave advice on photographing white Red Crowned Cranes and white Whooper swans against a snowy background.


He added in the unique problems of clearing out snowdrifts on a regular basis from within the lens hood and some of the camera controls freezing in the sub-zero temperatures. The final images from Japan were of Stellar Eagles on the sea ice in the Sea of Okhotsk.


The next stop on our journey was Bosque Del Apache in New Mexico where birds were the main targets of Julie and Alan’s lenses. These included snow geese in their thousands, cranes and a rare photo of the elusive Road Runner ( more commonly seen in Looney Tunes than in real life!).


We were shown some very evocative images created by creative use of panning and varied exposures.


Returning to the UK images of mountain hares in the Cairngorms opened this episode. From a photographic point of view the hare population is split into “runners” and “sitters”.


The “sitters” may possibly be older, wiser hares who realise that they are unlikely to be the targets for birds of prey whilst they are the targets for Julie and Alan’s cameras. Red squirrel images are always popular and Alan and Julie’s did not disappoint. Alan demonstrated how rainfall can produce a balanced soft light.


Further south in the UK in Hampshire there were a series of images of owls both captive and wild, and of kingfishers feeding.


Winter in the Kalahari desert does not have the extremes of temperature as Japan but offers different photographic challenges of trying to capture images of animals well camouflaged in the dry brown grassland around them.


Alan commented that incorporating the essence of the surrounding environment is now almost as important as the creatures themselves. This ethos was well demonstrated in some terrific images of lions and cheetahs.


The final episode of the evening involved a return to Arctic temperatures with a series of images of polar bears taken in Churchill, Canada. The extreme cold and a repetition of the problems of photographing white subjects on a white background did not deter Julie and Alan from producing a stunning collection of polar bears images in a variety of poses.


The proximity of the bears in some of the images was unnerving.


The quality and variety of images shown over 2 hours was very much appreciated and the next episode in their series of presentations is eagerly awaited. Many of their images can be viewed at awalkerphotography.co.uk/

Richard Jakobson

1st Set Subject Competition, October 23rd 2019

On Wednesday 23rd October we held our first set subject competition of the season. These competitions were introduced to encourage members to have their images critiqued in an informal environment. The emphasis is on providing positive feedback with the aim of helping members improve their photography. Tony Marsh, our External Competitions Secretary, was the judge for the night. Tony has a particular interest in wildlife and macro photography and had set “Small” as the subject for the competition.

In total six prints and 51 digital images were judged. The overall quality of the images was very high which was reflected in the scores. Tony awarded the maximum mark of twenty to ten images. The choice of a winning image proved difficult because of the strength of the entry but Tony finally chose a charming image of two Harvest Mice on an ear of wheat with their tails linked, photographed by Alan Walker. He commented that the image was “absolutely exquisite”.


As expected, the majority of the images submitted were of creatures large and small and the latter were much in evidence. Images which scored twenty included a super sharp image of a bee by Richard Jakobson


and a fabulous image of a Marbled White Butterfly by Tricia Rayment.


Wendy Jordan scored nineteen for an image of a Ladybird and Tony complimented her and commented on the difficulty of producing a satisfactory photograph of this species due to their shiny and highly reflective shells.


Gordon Train also scored nineteen for two of his prints. One was of a tiny snail crossing a road


and the other of a backlit spider and web.


Some members chose to depict animals in their environment, showing their small scale relative to their surroundings. Memorable images included a Polar Bear in an icy landscape by Keith Snell


and another image by Alan Walker of two Klipspringers, which are small antelopes, dwarfed by the rock on which they stood in the Kruger National Park in South Africa. Both images scored twenty.


There were also a number if images of birds. The highest scoring of these was Keith Snell’s “Fulmer under a Waterfall” which scored nineteen.


Tony pointed out, however, that many of the bird images suffered from being taken in bright sunlight which resulted in a loss of detail in the white areas.

Other members chose to interpret the subject of small in very different and imaginative ways. Richard Jakobson scored twenty for a humorous composite of two skiers descending in to a teacup.


Another image that raised a laugh from the audience was of smalls hanging on a washing line taken in Venice by Sue Rugg.


Flowers were also well represented and Tom Stenhouse scored twenty for his close up of Tulip stamens. Tony commented on the strong composition and sharpness of this image and felt that it would make a good picture for hanging on a wall.


Tom also scored nineteen for an image of a Parachute Mushroom.



Several members submitted images of children and Sue Rugg scored twenty for a print of a young girl and her toddler brother. Tony remarked that the low angle from which this had been taken was ideal for photographing children.


Another charming image of a four-day old baby was submitted by Heleen Franken-Gill.


Tony made many helpful comments during the evening to assist members to improve their images. He emphasised just how difficult macro photography is due to the small depth of field that a macro lens allows and he also stressed the importance of finding an uncluttered background. The evening was very entertaining and we all learned something to assist us in our photography.

Julie Walker

All the entered images can be viewed in our Gallery

1st Open Competition, October 9th, 2019

This week’s meeting was the first internal competition of the season. Our judge for the evening was Jack Bamford, an old friend of the society who was one of our own members before moving to the middle East, i.e. Hexham. Jack is a very well-respected judge with experience at looking at the photographs produced by a large number of camera clubs around the North of England. He started by congratulating the society on the quality and consistency of the images, especially the prints, “not a bad print amongst them”. (Members can enter up to two prints and two digital images each

Scores were given from within the range of 12 to 20 and there were seven prints that received the mark of nineteen; Julie walker showed a creative composite of a ballet dancer sitting on a stone bench in front of a wall-trained rose. Almost monochrome, the picture had been treated to give it an ethereal softness.


Sue Rugg, an experienced photographer but a new member to our society, had two with a strong portrait of a characterful bearded man, rather bizarrely sporting a white mouse on his lapel


and a powerfully striking picture of a young woman arising from mud and water a “Warrior” obstacle races. Keith Snell’s picture entitled “Survival” was an isolated tree, spot lit by sunlight, deep down in the dark surroundings of the epic quarry at Hodge Close, a site near Coniston beloved by landscape photographers.


Alan Walker’s picture of a small family group of elephants had also received a highly effective and artistic treatment of high key, (pale and contrasty), monochrome.


Tony Marsh showed a Griffin Vulture coming into land with wings up and legs down like a plane’s undercarriage,


and Ken Rennie, our expert landscape photographer, a monochrome panorama of wet sands with the focal point a lighthouse small and way over to the left side of the horizon. A daring composition but one that works really well.


There were four scores of twenty, Tony Marsh with a pin sharp shot of a tiny Common Blue Damselfly,


another shot on wet sand and sea, this time by Ronnie Gilbert and featuring a horseman and four of those fantastic white horses of the Camargue all lit by glorious evening sunlight and reflected in the water,


Julie Walker’s shot was of a white coated mountain hare stretching high on its legs in the rain.


Lastly, and judged to be the best print of all was a hovering Arctic Tern, beautifully sharp but with just a hint of a sandy beach below and behind it. As Jack said “a picture that I could live with on the wall”, and this was by Tricia Rayment.


Of the Projected images five earnt a score of nineteen, Julie Walker with another creative composite picture, this time of a dancer in a diaphanous dress, superimposed on a full moon and with some skeletal trees in the background.


A kingfisher bursting from the water carrying not one but two tiny fish was by David Woodthorpe,


and Alan Walker had produced a Leopard stalking through grasses with a puff of breath visible with everything beautifully backlit by early morning light.


Ronnie Gilbert, reverted to his more normal natural history style with an exciting shot of a Wolverine, (a wonderful creature of Scandinavia, think of a cross between a stoat and a bear!),


and Sue Rugg’s charming picture of two young ragamuffin sisters, (taken at a re-enaction), was mostly subdued in colour but was balanced perfectly by a striding cockerel with a bright red comb.


The twenty scores were Ken Rennie’s landscape shot of a dramatic rock needle,


“Tree Sprite” was an artistic shot by Keith Snell of a naked model sat on a curved branch of a flowering Magnolia tree,


and the shot judged to be the best projected image was a Dalmatian Pelican reaching for a fish on ice. Taken very close up with a wide angle lens Alan Walker had managed to keep everything sharply in focus from the tip of its colourful bill to the snow covered mountains behind the birds outstretched wings.


Although I have described only nineteen of the eighty-two images we looked at I hope this has conveyed the breadth and depth of the photographic talent within the society. Jack’s commentary and advice given about each picture made this an educational evening as well as an enjoyable way for members to show each other some of their work.