Please note Worcestershire Camera Club special interest groups (Digital Photography, Contemporary, Audio Visual, and Photography Development) are currently running online via Zoom.  Members signed up for notifications from the groups will receive emails with details of the meetings. 

Our March meeting once again revealed a wide spectrum of work about how we see, represent and interpret the world about us. 

There was a vast amount of evidence to illustrate how our eyes are used to ‘see’ rather than to simply ‘look’, especially how we seek to  ‘re-present’ our subjects by ‘intention’ rather than to ‘represent’ by mere observation.  Additionally, interpretation forms an important aspect of our response, whether when making the exposure or by sharing the work.  Everyone’s contribution was warmly received and discussed with good insight and supportive, helpful comments.  As usual good humour was never far below the surface, bubbling forth when rather more vivid and wider associations were made about some images.  Here’s a flavour of the evening.....

We began with two ‘outside sources’, both featuring the element of fire.   To explore more, click on the links provided.

In a most eloquent documentary-style approach with a high level of ‘contemporary’ presentation and excellent photography, we enjoyed the recent successful ARPS submission by Chong Kit Hang ARPS.  Here’s his succinct statement of intent:

‘Located in Kota Tinggi, a small town in Johor of Malaysia is known for its traditional charcoal manufacturing. I was amazed when I visited the charcoal field where the workers were working very hard in an extremely polluted workplace, enduring high temperatures and dangers’.

Here’s the link: Chong Kit Han 

The second example concerning ‘fire’, this time uncontrolled and devastating, was taken from  ‘Facing Fire:Art, Wildfire, and the End of Nature in the New West',  a large body of work curated by Douglas McCulloh.  The massive exhibition looks at fire as omen and elemental force, as metaphor and personal experience. 

Here’s the link:  Facing Fire:Art, Wildfire, and the End of Nature in the New West 

There was a certain amount of ‘water on the brain’ this session as some of our members explored aspects of the recent widespread flooding along the River Severn. Peter contributed his vision of the extent of flooding in Worcester and its muddy aftermath, whilst Alex chose to represent the recent floods and associated ‘named storms’ through abstraction and multiple-exposure.

Contemporary photography is frequently expressed through a fine-art approach.  This session was no exception, this time with the co-mingling of abstract forms and figurative photography. A good example was provided by Maddy who used her own watercolours plus ink, natural fragments, trees and landscapes in combination to provide a powerful individual statement, successfully blending painterly art and photography. Considerable strength was added to the work by the clever inclusion of bracken and other natural shapes and textures.

With their basis in reality, Bob’s series of pictures from the inside of a car whilst in an automated car-wash also provided a set of abstract interpretations.

John continued an abstract style of seeing with a selection of images ranging from small textural details of graffiti to beautifully blended and visually poetic forms of flowers.

Through a series of images from Spain, Tessa showed examples where, quite unintentionally, people had created ‘art’ that resembled a large ‘installation’ by the practical arrangement of large triangular sheets that had been suspended between buildings to provide shade.  Tessa’s keen eye also revealed how something as utilitarian as football goal-posts can provide a form of natural picture-frame for the view beyond.

Always seeking to comprehend what we perceive as ‘reality’, Stewart presented a series of images which, through reflections in glass offered multiple layers of real-life scenes. By careful juxtaposition these questioned physical relationships. In contrast, the seemingly gaunt quotidian structures of national grid pylons provided inspiration for Lucy’s photography.  Lucy explored not only the skeletal forms of these structures but also their place in the landscape, whether towering above or reflected in pools of water below.

Judy presented a series of images which explored her personal interpretation of shadows and reflections, whilst Nigel’s contribution this session included a set with ‘cars in the frame’ whereby a motorcar was the connecting but not dominating element, in street photography and the gritty realism of modern architecture.

The session concluded on a sombre note with Clive’s series, 'Cimetière' , about graveyards in France, including family tombs, associated grave furnishings and memento mori.

What another brilliant evening!  The session brimmed inspiration linked by enjoyable interaction and discussion.

The gallery below offers a selection from the session.

March CPG Members' Gallery:  to shuttle through, click to open the image then, use the on-screen forward > and < reverse arrows, or your keyboard arrow (> <) keys.