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Welcome to our group Tavistock Photography Club Forum! A space for us to connect and share with each other. Start by posting your thoughts, sharing media, or creating a poll.

I have just returned from being lost online. As you can see from the heading, this is a part two of a previous contribution which, at the moment, appears to have been lost. Apparently, in signing in again, I have cancelled my history. Never mind, I will proceed.

The subject is studio self-portraits, portraits and backgrounds. I gave an example of a rustic wooden background in the original portrait, which can also be usefully employed for still-life. A still-life is included, Roses Are Orange, with the same backdrop and another selfie with a painted grey, roll-up background. I used to take this out to do portraits in situ, most often at the rugby club. The brushwork is a mimic of the out-of-focus effect and although I try to get it out-of-focus it is useful if there isn't much space.

An alternative to the rustic background is an elegant one that…

Hello everyone. I am a new member this year and have really enjoyed viewing fellow members creativity which I feel is to a really good standard. I have also enjoyed the varied programme which has been full of interest, so well done to the organisers! I have also really benefited from entering competitions and receiving feedback from members and judges for the first time, i'm certainly looking at my images differently as a result. When it comes to competitions I am a little puzzled in one small area and that is the difference between Group A & B in open competitions - To my eye the standard is very similar, so I was wondering why there are two groups. Many thanks Peter

Now that the entry is closed, here are 2 of my interpretations.

They were both taken during a trip to Brittany last year.

The first was captured during our coastal walk and is another of my symbolic images. I give you my title but leave you to cogitate what interpretations you can deduce!

This stretch of the coast gets the full blast of the Atlantic and the rocks get tumbled around like a washing machine. Consequently the loose rocks are worn down and well rounded and the fixed rocks get smoothed-RATHER LIKE IN LIFE??? . Mono to emphasise shapes and textures.

Cause and Effect

Some of you may remember Kev the Puffin man from Liverpool giving us a zoom presentation 2 or 3 seasons back.

He does some great stuff on light and nature, particularly wildlife. He will be residing temporarily in Devon until Autumn as part of his work, and would be available for a workshop out in the field somewhere this spring and summer.

Any suggestions welcome. I did think about an excursion to Lundy for Puffins.

Replies here but also email me on maxalaxa@gmail.com if interested.

Continuing my posting of would-be competition entries if I did so, here are my "Weather" images for comparison to tonight's entries.

My take might be a little different, in as much as I have taken an indirect look at the effects of weather.

these two images were captured from Picklecombe Fort last year. It is a converted Napoleonic defence-of-Plymouth installation overlooking the Plymouth Sound, one of many.

As often, I look for a story or symbolism during capture, or post editing to give some added interest- at least for me!

During our stay the stormy weather produced some interesting wave images!

Creativity, AI,Colour

These are the 3 main thrusts of my photography in the last 10 years- largely due to the self help group (Altered Images and now Open Shutter subgroup) within Tavistock Photography Club.

The book referenced below was an influence to my watercolour painting 35years ago! I thought I had lost it, but recently found it again, and realise that it does still reflect my current photography.

I include the Introduction page and you may find it inspiring if you substitute the words Photography/Camera for brushes/paper! Creativity/Colour are central to the entry.

With the higher Profile and capability of AI in Photography, many are resisting the transition for their own reasons, but I regard the capabilities as tools for my photography to achieve the techniques and skills that I strived to improve during those 'Painting Years'

If you missed this on BBC4 tonight, you might like to find it on Catch up - it is the story of Harry Burton, the photographer with Carter in Egypt in 1922 - great explanation of wet plate, large format cameras and amazing recreation of the process by Harry Cory Wright.

Open Competition 29th Jan 2025

Here are two images, my thoughts and reasons during their processes.

This shot was captured during the boring return voyage from Brittany. I usually amble around the decks, camera in hand looking for the different. Some others have appeared on the Club's Flickr and in previous competitions, but my preferences of image subject does not always align with judge's. I believe Howard has recently made the same point.

This one would probably be judged 'TOO BUSY'- yes that was the point-hence the title. The gentleman (centre) was returning to their open deck table (bottom right) from the bar. The sea to the right provides the maritime context. I do like stairs, steps and railings, a regular posting of mine on Flickr group 'straight lines curves and shadows'.

 This image was captured in Brittany during a holiday.