Club Meeting, 2nd Open Print Competition - Tuesday 1st April 2025.
On Tuesday 1st April, Morpeth Camera Club welcomed guest judge Catherine Ball, BA(Hons), a member of North
Shields Photographic Society, to announce the results of the 2nd Open Print Competition of the season. Faced with
a variety of subjects, Catherine used her knowledge of fine art to look in particular at the aesthetic qualities of the
images. In both mono and colour categories, she drew attention to the mounts used, often suggesting the use of
black mounts, and commented on the successful application of borders and choice of papers. Shapes captured her
attention, leading us to see many prints rotated to suggest alternative orientations, particularly among the abstract
pieces, or switching from colour to monochrome and vice versa.
The mono section included architectural subjects such as a pier, Dunston Staiths, an old mill, a theatre, a rotting boat,
an interpretation of regimented floors, a spiral staircase and bridges. There were some lovely environmental portraits
from street musicians to a steampunk couple or cockle picker. Flora and fauna ranged from charming sheep or geese
to more stylised studies such as a bird on wires, owl on bricks and an aqualegia. In the case of outdoor shots the judge
approved of avoiding overdone skies and skilful use of depth of field, but sometimes suggested adding more contrast.
The judge continued with her Highly Commended awards: the effectively sepia-toned Vintage Cars by Roseanne Robinson,
the tightly cropped Emily’s Message by Davy Bolam, Don’t Step on the Cracks, again by Davy, and Metal Shapes Abstract
by Sue Dawson. Fifth place was Paul Kidd’s Monarch is Calling, a stunning deer with a dangerous look, sharp eyes, and
a great tonal range. In fourth place was Anglesey Barracks by Glyn Trueman, a beautiful architectural composition with
a dramatic sky. Third place was awarded to Sue Dawson for Approaching St James’, well handled technically, with good
leading lines. Second placed Shipyard by David Moore showed a powerful containment of a large object within a square.
Catherine then announced the winner of the 2nd Open Monochrome Print Competition as Glyn Trueman with Mountain
Goat, a charming portrait which almost seemed to show engagement with the photographer.
1st. Mountain Goat. 2nd. Shipyard. 3rd. Approaching St James'.
Onto the colour section, where particularly creative compositions were common, with abstract grasses, multiple exposure
and ICM scenes. Submissions varied from the use of bright paintbox colours in The Couple, Wind Surfers and a Sri Lankan
Stork to well-handled greens in House and Garden to the golden light of Borough Woods and muted colours of a Juvenile
Stonechat. Landscapes included a pond and a misty and ethereal Wansbeck, one dominated by a Blade of Giants and a
detailed rockscape. More bridges featured, more flowers and boats, an inquisitive red squirrel, a glassblower's skilful hand,
and people on a demonstration.
Highly commended placings were: Amble Quayside by Paul Appleby, Four Point Darter by Paul Kidd, New Zealand Flax by
Karin Jackson and Yellow Leaves by Pat Wood. Ink Cartridge Filling had an unhappy messy aftermath for Glyn Trueman
but provided an interesting colour mixing study and earned 5th place; His 4th placed Iced Coke was much simpler, and
praised for its colour contrasts. Sensitive handling of the light and shadow patterns on the face of South American Lady
gave Roseanne Robinson 3rd position, with Just 2 Bottles as a creative fine art study earning 2nd place for Davy Bolam.
Further play on shadows and highlights on the Bocca Building in Buenos Aires made a colourful winner of the Second
Open Colour Print Competition for Roseanne Robinson.
1st. Bocca Building... 2nd. Just 2 Bottles. 3rd. South American Lady.
Club Vice-Chair Jeremy Cooper thanked Catherine for her helpful comments on all submissions, as her feedback had
provided valuable ideas for members to develop their work.
Sue.
Shields Photographic Society, to announce the results of the 2nd Open Print Competition of the season. Faced with
a variety of subjects, Catherine used her knowledge of fine art to look in particular at the aesthetic qualities of the
images. In both mono and colour categories, she drew attention to the mounts used, often suggesting the use of
black mounts, and commented on the successful application of borders and choice of papers. Shapes captured her
attention, leading us to see many prints rotated to suggest alternative orientations, particularly among the abstract
pieces, or switching from colour to monochrome and vice versa.
The mono section included architectural subjects such as a pier, Dunston Staiths, an old mill, a theatre, a rotting boat,
an interpretation of regimented floors, a spiral staircase and bridges. There were some lovely environmental portraits
from street musicians to a steampunk couple or cockle picker. Flora and fauna ranged from charming sheep or geese
to more stylised studies such as a bird on wires, owl on bricks and an aqualegia. In the case of outdoor shots the judge
approved of avoiding overdone skies and skilful use of depth of field, but sometimes suggested adding more contrast.
The judge continued with her Highly Commended awards: the effectively sepia-toned Vintage Cars by Roseanne Robinson,
the tightly cropped Emily’s Message by Davy Bolam, Don’t Step on the Cracks, again by Davy, and Metal Shapes Abstract
by Sue Dawson. Fifth place was Paul Kidd’s Monarch is Calling, a stunning deer with a dangerous look, sharp eyes, and
a great tonal range. In fourth place was Anglesey Barracks by Glyn Trueman, a beautiful architectural composition with
a dramatic sky. Third place was awarded to Sue Dawson for Approaching St James’, well handled technically, with good
leading lines. Second placed Shipyard by David Moore showed a powerful containment of a large object within a square.
Catherine then announced the winner of the 2nd Open Monochrome Print Competition as Glyn Trueman with Mountain
Goat, a charming portrait which almost seemed to show engagement with the photographer.
1st. Mountain Goat. 2nd. Shipyard. 3rd. Approaching St James'.
Onto the colour section, where particularly creative compositions were common, with abstract grasses, multiple exposure
and ICM scenes. Submissions varied from the use of bright paintbox colours in The Couple, Wind Surfers and a Sri Lankan
Stork to well-handled greens in House and Garden to the golden light of Borough Woods and muted colours of a Juvenile
Stonechat. Landscapes included a pond and a misty and ethereal Wansbeck, one dominated by a Blade of Giants and a
detailed rockscape. More bridges featured, more flowers and boats, an inquisitive red squirrel, a glassblower's skilful hand,
and people on a demonstration.
Highly commended placings were: Amble Quayside by Paul Appleby, Four Point Darter by Paul Kidd, New Zealand Flax by
Karin Jackson and Yellow Leaves by Pat Wood. Ink Cartridge Filling had an unhappy messy aftermath for Glyn Trueman
but provided an interesting colour mixing study and earned 5th place; His 4th placed Iced Coke was much simpler, and
praised for its colour contrasts. Sensitive handling of the light and shadow patterns on the face of South American Lady
gave Roseanne Robinson 3rd position, with Just 2 Bottles as a creative fine art study earning 2nd place for Davy Bolam.
Further play on shadows and highlights on the Bocca Building in Buenos Aires made a colourful winner of the Second
Open Colour Print Competition for Roseanne Robinson.
1st. Bocca Building... 2nd. Just 2 Bottles. 3rd. South American Lady.
Club Vice-Chair Jeremy Cooper thanked Catherine for her helpful comments on all submissions, as her feedback had
provided valuable ideas for members to develop their work.
Sue.