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Photography Exhibitions - Are you a "real photographer"?

Discussion in 'Talking Pictures' started by PhotoEcosse, Apr 19, 2015.

  1. Catriona

    Catriona Well-Known Member

    Forgive me, but that comes across as somewhat patronising, although I'm sure you didn't mean it as such.
    Having seen some of the entries in the RPS Print competition, running at the moment, http://www.rps-international.org/competition/all/28382/ I can only say that this offering from an FRPS is so self-indulgently pretentious, I certainly wouldn't go to see an exhibition of his work - on principle!

  2. MickLL

    MickLL Well-Known Member

    Quite right - it wasn't meant to be patronising in any way. I was in a great hurry to get my Grandson to school and gave little thought to wording.

    My central point was that the skills of making and appraising photographs are different. After that my shorthand didn't work too well.

    In the club world judges usually have loads of letters after their names including the RPS distinctions and also awards granted by many other photo organisaitons. Again (being simplistic) those letters are often taken as an indication that the person 'knows the job' in the sense of making photos. Our judge last night had LRPS which is at the bottom of the 'distinction ladder' and it might reasonably be assumed that he might be less good than some of the others (yes I know there are lots of reasons why I might be wrong). So my illustration was saying here's someone at the bottom of the distinction ladder but (by general acclaim) towards the top of the judging ladder.

    Just trying to illustrate my central point.

  3. RovingMike

    RovingMike Crucifixion's a doddle...

    Yes I noticed that one too, and winced. There used to be something that went like if an LRPS presents a bad shot, you smile condescendingly and say "They'll learn". If an ARPS presents one you say "Well they can't get it right every time". And if an FRPS presents one you wonder what they know that you don't!

    In this case I think we wouldn't spend too long wondering. :(
  4. Sejanus.Aelianus

    Sejanus.Aelianus In the Stop Bath

    What else would you expect from a Friend of the Really Pretentious Society?

    Oops! Did I write that out loud?


  5. MickLL

    MickLL Well-Known Member

    So sorry 'Mr. Royal' (the gentlest, kindest and friendliest of digs!!!!)

    I very much regret starting that hare running because, once again, it's diverted attention away from the central contention that making and appraising are different skills.

  6. RovingMike

    RovingMike Crucifixion's a doddle...

    Yes, people get an F for all sorts of reasons and you really need to know what discipline it's in. It certainly isn't an examination of overall nous, the judging qualifications are supposed to do that. I think it might probably be predictable that an F in a highly specialised area like documentary would be lost for comment on a pure visual art shot.
  7. RovingMike

    RovingMike Crucifixion's a doddle...

    Perfectly legitimate I thought, Mick. I would have said the same as Kate and yourself.
  8. lfc1892

    lfc1892 Well-Known Member

    For me, it's preferable, but it's not essential. I get regular critique from folk who have no links to their work and don't post their own stuff up for others too see, but the critique makes sense and I can see real thought, knowledge and experience behind it. Whether it's positive or negative crit. And that's great, Flickr link or not.
    but does it add credence to what folk say if there's a link to a great volume of their work? Of course it does.
  9. Catriona

    Catriona Well-Known Member

    No, I didn't mean you! It would be nice to see some more though. I know what you mean about the old Epson since mine lurks in a cupboard, doing nothing (hubby used to be in charge of that one).
    I can truly say that I get all the satisfaction I need from my current readings on ancient Rome, so no pressure there. ;)
  10. 0lybacker

    0lybacker In the Stop Bath

    Photo exhibitions – a testimonial.

    I discovered the Association of Fashion, Advertising & Editorial Photographers early on in the run of their annual Awards and its associated exhibition. As a young, developing photographer, working in an unrelated profession in central London I had many of the galleries showing photography on my radar and would regularly visit during office lunchtimes, after work and at weekends.

    I was a little aware of what was going on in pro photography thanks the photo press (mostly the original PhotoTechnique magazine), to a friend in the equipment industry – he built enlargers - who passed pro magazines to me and through visiting things like Photography at Work. I may have popped up to the West End after work and just called by Hamiltons on the off-chance, merely to see what they might be showing. Perhaps I had been alerted by a Press announcement and made a specific visit. I cannot remember now.

    I think it was the second Awards show, so it would have been 1985. I was amazed! Fantastic work on show, especially from established 'stars' such as John Swannell, Barry Lategan, John Timbers, John Claridge, (he was at his peak) and younger, newer photographers Robert Dowling, Desmond Burdon, Ray Massey, Harry de Zitter and Andreas Heumann.

    I discovered that AFAEP had just bought their own building just off Old Street (West), north of the City of London and were opening their own gallery there. It became a regular 'Must See' on my list of galleries to visit.

    The gallery was then enthusiastically & brilliantly run by Valerie (in the Gallery) May who staged a constant & imaginative cycle of exhibits, usually on a fortnightly basis, sometimes for a longer duration. It was there that I received a considerable part of my visual education. I now value that education tremendously. I would not be the same photographer or judge if it hadn't been for that gallery and its exhibits. My mind was completely caught by the images produced, across a range of disciplines: fashion, still-life, food, advertising, people, landscape, architecture, cars, and so on, for the markets of advertising, editorial & public relations photography. It was a revelation.

    A pro gallery. I could have erected a wall in my mind 'That's professional work, I'm an amateur. Why should I want to go and look at that?' and stayed away. Or I could have 'not bothered' or done other things or just concentrated on my own photography, spent more time making more of my own images.

    "I wasn't looking for no fancy shades."

    I found plenty at AFAEP. And were they fancy?! I had found a resource. So I used it.
  11. 0lybacker

    0lybacker In the Stop Bath

    Hi Mick, that's true but if you can bring the two together - in the right way - like, maybe, two bits of nuclear fissile material, you get a better bang for your buck! ;):D Cheers, Oly
  12. 0lybacker

    0lybacker In the Stop Bath

    Yep, me too, Senator. Or they did. Way back in the 1970s. Actually it was their pretentiousness {eek - is that a word?} that did it for me back then. Plus the stupidity of claiming a 24mm is your 'standard' lens so much that the 50mm that you hated - 'so samey, so basic, yah?' - when you used 35mm and then 28mm as your 'standard' suddenly comes into favour and use as 'telephoto'! :rolleyes:

    Older, wiser (& visually educated at lots of exhibitions ... and via books ... and magazines: AP ['Yaaay!'] and others) and more widely equipped, I might just bolt on an extra wideydangle and shoot crow's feet and other wrinkles {Bagsy! I hereby claim that as a book title, btw} ...

    ... but ...

    ... I would be doing it for a purpose and, hopefully, because I knew what I was doing. Thanks to exhibitions'n'stuff. :D Cheers, Oly
  13. RovingMike

    RovingMike Crucifixion's a doddle...

    Oly, in fairness, I think that was all started by the reportage togs, particularly going into difficult situations like wars and riots. I think Greg Marinovich covered it in "The bang bang club", where they would get really close in to get the reactions and not have time to focus. Given they had massive latitude with black and white film, they'd set something like 5.6 at 125th and just sort it all out in printing.
  14. Catriona

    Catriona Well-Known Member

    I've just been on a bus. A lovely lady spent half an hour taking me through each exhibit, explaining the background and the execution of what was on display.
    Absolutely delightful and quite made my morning. V&A Museum of Design Dundee. Design in Motion 13 Feb - 21 June 2015. Ending at the V&A London.
    Holly Fulton's clothes designs are superb.
    Lynn Maclachlan who originally trained in aerospace engineering does magical things generating 3D jewellery which gives your eyes a work-out as they move. So light, you wouldn't know you were wearing them. Sara Robertson & Sarah Taylor create lace artworks with 'properties' which could hang on my wall any day.
    So I was inspired, cared for, educated and made to laugh in such pleasant company, I could have stayed on the bus!

    PS This was after finding out I had actually sold one of the prints I put into the Gallery a month ago as part of an exhibition. Happy days! :)
  15. MickLL

    MickLL Well-Known Member

    What a great post. What a change from the whining, whinging drivel we often see.

    You have made me beam with pleasure and I think that it may last all day!!

  16. Sejanus.Aelianus

    Sejanus.Aelianus In the Stop Bath

    Agreed, with twinkly stars on top! :D

    As the old advert didn't quite say:

    A smile a day
    Is good for work, rest and play.​

  17. Done_rundleCams

    Done_rundleCams AP Forum Ambassador to Canada

    No, I just play a person with a camera in life :rolleyes: …. well, at least, the last
    28 years or so ;)



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