Club Meeting, First Open Print Competitions - Tuesday 15th November 2022.
On Tuesday 15th November 2022, Morpeth Camera Club were pleased to welcome Keith Suddaby FRPS MPAGB
EFIAP FBPE, to announce the results of this season’s first open print competitions. Keith has judged many times
for us over the years and we looked forward to hearing his comments on our work during evening. He began by
saying that the printed photograph differs from digital images in that we can all share a reaction to what we are
seeing. In competitions like this it is a chance to learn from looking at others’ work, adding that he had noticed
that entrants had set a great standard this year.
The camera is only the starting point, he stressed, it is what we do with what the camera takes that is important.
In this digital world which has taken the lid off photography, it has given us the freedom to push the boundaries
and use our minds to create visionary work which is available to all. He is an advocate of simplicity; one can take
a photograph which is far too busy but with clever use of cropping one can hone in on something special within
that image which is more impactful.
Starting with the Colour Print section which attracted forty four entries, we saw a great variety of subject matter
which included shore and exotic birds, apartment block windows, Amble Staithes, flora, bridges, fenland paths,
cattle, waterfalls, abstracts, and winter woodland. Keith went on to announce his placings; Highly Commended
awards went to Evening Light at Slitachan and Where’s the Mountain, by Glyn Trueman and to Fern by Pat Wood.
Fifth place went to Goshawk Gaze by Carl Harper, in fourth place was Café Andluz by Sue Dibben, third place to
Butterfly in Blue Mood by Sue Dawson, and second place went to Three Trees by Peter Downs. Keith announced
the winning Colour Print as Date Night by Sue Dibben, stating that he had awarded first place for its strong
impressionistic nature, good balance and that that it said to him many things.
1st. Date Night. 2nd. Three Trees. 3rd. Butterfly in Blue Mood.
The Monochrome Print section then followed with thirty two entries, scenes of dark moody rural landscapes and
seascapes, Blanchland Abbey, chimneys, entwined rope patterns, nature, churches and castles. Simplicity was the
key word in Keith’s judgement in this section, advising one to look for the thing that is very strong in your picture,
to make it a brief summary of a larger work; in other words, a compendium picture. He said that the camera now
captures more than you really want so one should feel free to crop to highlight the strong elements. Remember
that strength can be found in both delicacy and simplicity, he said. Going through the prints he stressed that the
object included in your title should have prominence and not be overshadowed by its surroundings. In his opinion
the best aspect of monochrome photography is that shapes, contrast and tone are brought to the fore without the
distraction of colour.
Going on to announce his placings he awarded Highly Commended awards to Lonely Sands by Carl Harper, Late
Night Conversation by John Barnes and Pennine Way by Roseanne Robinson. He gave fifth place to The Redundant
Church by Glyn Trueman, fourth place to Just Chilling by Sue Dibben, third place went to Beautiful Death by Carl
Harper and second place to Fantasy Tree by Davy Bolam. Announcing the winner of the Monochrome Print section
to be Grey Day at the Gap by Sue Dawson, he described her image of Sycamore Gap on a dark day as a successful
combination with a tremendous sky.
1st. Grey Day at the Gap. 2nd. Fantasy Tree. 3rd. Beautiful Death.
Keith concluded by saying that nowadays we want more than just taking pictures, one must ask oneself: ‘How can
my images be developed.’ Co-Chair Sue Dawson thanked Keith for his constructive opinions. All prints which were
entered into the competition were displayed around the room for members and participants to view over coffee.
Steph.
EFIAP FBPE, to announce the results of this season’s first open print competitions. Keith has judged many times
for us over the years and we looked forward to hearing his comments on our work during evening. He began by
saying that the printed photograph differs from digital images in that we can all share a reaction to what we are
seeing. In competitions like this it is a chance to learn from looking at others’ work, adding that he had noticed
that entrants had set a great standard this year.
The camera is only the starting point, he stressed, it is what we do with what the camera takes that is important.
In this digital world which has taken the lid off photography, it has given us the freedom to push the boundaries
and use our minds to create visionary work which is available to all. He is an advocate of simplicity; one can take
a photograph which is far too busy but with clever use of cropping one can hone in on something special within
that image which is more impactful.
Starting with the Colour Print section which attracted forty four entries, we saw a great variety of subject matter
which included shore and exotic birds, apartment block windows, Amble Staithes, flora, bridges, fenland paths,
cattle, waterfalls, abstracts, and winter woodland. Keith went on to announce his placings; Highly Commended
awards went to Evening Light at Slitachan and Where’s the Mountain, by Glyn Trueman and to Fern by Pat Wood.
Fifth place went to Goshawk Gaze by Carl Harper, in fourth place was Café Andluz by Sue Dibben, third place to
Butterfly in Blue Mood by Sue Dawson, and second place went to Three Trees by Peter Downs. Keith announced
the winning Colour Print as Date Night by Sue Dibben, stating that he had awarded first place for its strong
impressionistic nature, good balance and that that it said to him many things.
1st. Date Night. 2nd. Three Trees. 3rd. Butterfly in Blue Mood.
The Monochrome Print section then followed with thirty two entries, scenes of dark moody rural landscapes and
seascapes, Blanchland Abbey, chimneys, entwined rope patterns, nature, churches and castles. Simplicity was the
key word in Keith’s judgement in this section, advising one to look for the thing that is very strong in your picture,
to make it a brief summary of a larger work; in other words, a compendium picture. He said that the camera now
captures more than you really want so one should feel free to crop to highlight the strong elements. Remember
that strength can be found in both delicacy and simplicity, he said. Going through the prints he stressed that the
object included in your title should have prominence and not be overshadowed by its surroundings. In his opinion
the best aspect of monochrome photography is that shapes, contrast and tone are brought to the fore without the
distraction of colour.
Going on to announce his placings he awarded Highly Commended awards to Lonely Sands by Carl Harper, Late
Night Conversation by John Barnes and Pennine Way by Roseanne Robinson. He gave fifth place to The Redundant
Church by Glyn Trueman, fourth place to Just Chilling by Sue Dibben, third place went to Beautiful Death by Carl
Harper and second place to Fantasy Tree by Davy Bolam. Announcing the winner of the Monochrome Print section
to be Grey Day at the Gap by Sue Dawson, he described her image of Sycamore Gap on a dark day as a successful
combination with a tremendous sky.
1st. Grey Day at the Gap. 2nd. Fantasy Tree. 3rd. Beautiful Death.
Keith concluded by saying that nowadays we want more than just taking pictures, one must ask oneself: ‘How can
my images be developed.’ Co-Chair Sue Dawson thanked Keith for his constructive opinions. All prints which were
entered into the competition were displayed around the room for members and participants to view over coffee.
Steph.