SRPS October 2021 Outing

Where             Bay Area Bridges

Dates               Visit:                October 1 – October 13

Upload:            October 13

Zoom:              October 15

Description     We are blessed with some of the most picturesque bridges in the country. You have two weeks to seek out and shoot one of them. Extra credit for not shooting the Golden Gate or Bay Bridge. Here is a list of the other bridges to consider.

                         Here are the details:

–  The bridge you choose must be shot during the 9/10 – 10/13 window

– The images can be shot any time of day or night

– The shots can be taken as close or as far away as you wish

Gear to bring Hey, you are driving to these sites. It is up to you to decide what to throw in the car; please, no drones allowed.

Celebration dinner How about a lunch instead? No night driving. If you are interested, let me know.

After the outing, please sort through your images that you will post for the   Zoom meeting on the 15^th; please have them uploaded by the 13^th.

SAMPLE UPLOAD PROCESS

1. Pick out a max of 5 processed images and upload them to the club’s competition site.

 2.Prepare these images to the specs you use to upload images for competition; see detailed instructions below.

3. All images must be uploaded by midnight September 15.
4. The host (Tony) will arrange them in Lightroom to prepare them for a Zoom meeting at the address shown on the Zoom Meeting tab in the SRPS web site.
5. Bill Stacy will set up the Zoom meeting and act as co-host. The meeting will start sharp at 5 pm on September 17. There will be some social time first.
6. The host/Tony will show all the images of one person at a time. The maker will narrate them. After that, there will be time for comments.

Details             Just like competition, go to the Visual Pursuits site, log in and go to the My Account tab and then to My Galleries

There you will scroll down to Field Trips Discussions; on the right, click on Edit and Upload images……. just like competition.

They then can either be pulled from your Library if you uploaded them there, or directly uploaded from another file location by drag and drop. The max is 5 images uploaded.

5. NOT LIKE COMPETITION, title each of your images as: your last name and the number 1 through 5.

You are now done

Categories: Pictorial, Nature, Creative, Monochrome

Judge: Ouliana Panova

Biography: I have only been photographing with artistic intent for a bit over a year and a half, but in that time I have become utterly enamored with the process. I shoot film and digital both, with a general preference for landscape and abstract compositions, but I am very fluid with my choices of lenses and apertures and focal lengths – and my poor spine is truly making me pay for lugging all this gear up mountains and into woods. Currently, I am on a deep dive into infrared photography, as I am fascinated with the effects of blending various spectra and capturing light unseeable by the human eye. I am fully self-taught, but my graduate education and current work in electron microscopy have provided me with a strong technical and theoretical background on the optics and image processing aspects of the craft. I have joined and am now running a small but growing online community of photographers focused on discussion, mentorship, and critique. I have truly launched myself into this art with unbridled enthusiasm and curiosity! You can find my work on Instagram, @panovanator.

Philosophy: To me, the success of an image lies in the efficacy with which it relays the artist’s message. I first focus on the effect of the image as a whole, be it emotional or cognitive, and then proceed to distill the contributions of the visual elements – color, composition, tone, subject… – to the intended (or resultant) response to the piece. I believe that all creative efforts are valid and deserve consideration, and thus I endeavor to take the time to give each piece placed in front of me valuable critique – emphasizing the positive, and potentially providing careful suggestions on how, in my opinion, it could be improved.  I have a very open mind when it comes to alternative processing, off-beat coloration techniques, unusual angles and other creative explorations – seeing as I partake so often in those myself – but appreciate and value the classical guiding principles of aesthetics as established by centuries of human art. I am a champion of varied and precise semantic expression, and solemnly swear to use my verbosity for good.

Waterscapes and Capturing Waves

http://timcliftonphotography.com

N4C closes this competition on Dec. 1st. Our Competition Chair submits our entries to N4C.

Portfolios will be shown at the EOY Meeting on Thursday, Nov. 11th. In order for the Review Committee to review the entries and assist members with fine-tuning (titles, overview image, and statement of intent) in order to conform to the N4C rules, entries must be submitted by Wednesday, Nov. 3rd at 11:59 pm.

N4C Portfolio Competition rules are here:

https://n4c.org/wp-content/uploads/2020/08/Portfolio-Competition-Rules-Clean-Draft-for-2021.pdf

Entries for the annual SRPS Field Trips Competition close at 11:59pm  on Wednesday, Nov. 3rd.

Zoom portal opens at 6 pm and meeting starts at 6:30 pm

To be shown:

Team SRPS has 8 Portfolios verified and ready for the Competition Chair to upload to the N4C Portfolio Competition. I’ve heard that 2 more are almost done…

Note: This competition will be closed for 1 day – Nov. 11th, so that Portfolios can be gathered to display at the EOY Meeting. It will re-open Nov. 12 thru Nov. 26th.

Zoom portal opens at 6:00 pm and meeting starts at 6:30 pm

Categories are: Creative, Journalism, Pictorial

Judge: Neal Menschel

Pictorial, Journalism, Creative

Judge: Neal Menschel

Bio. Neal Menschel has been a photographer for over 35 years. He has photographed six presidents, as well as many international leaders. . He began his career as a photographer for the Anchorage Daily News in Anchorage, Alaska. As a freelance photographer Neal’s clients have included The New York Times, Newsweek, MIT, Tufts, Wellesley College, People, Geo, Front Line, Yankee, as well as other publications and numerous corporate clients. Neal also worked as an associate producer and sound recordist on a series of award winning documentary films for WGBH-Boston, and WBZ-TV, Boston, additionally teaching photography/documentary photography at Boston University. Neal was the Director of Photography and Senior Photographer for the Christian Science Monitor where he traveled extensively, both nationally and worldwide, specializing in third world politics and development, environmental issues, domestic politics, humanitarian, social, and cultural issues, always with a focus on people and matters of the “human heart.” Neal was the Director of Photography for the Salt Institute for Documentary Studies, a graduate and undergraduate training program in photography, radio, and writing, in Portland, Maine. Neal led their photography program for nine years before moving to the San Francisco Bay Area. Many of the students Neal has taught, mentored, and shared his passion for photography and visual storytelling are now successfully carrying on careers in photojournalism and fine art photography. He teaches in Stanford University’s Continuing Studies Program while he continues his work as a photographer, journalist, teacher/mentor/coach, and workshop instructor/leader. You can view examples of Neal’s work at www.nealmenschel.com

Judging Philosophy. I have spent a lifetime creating, editing, choosing, and critiquing photographs, both my own and others. Enough time to know and understand the subjectivity of all of those experiences. I am also aware of the multitude of paradigms that our choices filter through as we approach final decisions. I try to keep these things in mind as images are narrowed to final choices. I look for all of the defining aspects of content in a photograph, including emotion, composition in all its manifestations, possible activities, light, mood and ambiance, character of any kind (even trees have a sense of character), and finally, a sense of time and place. I am interested in photographs that might elicit a more universal response from a broader cross section of viewers than just myself. To do that I feel a photograph ideally must surprise the viewer with originality and lack of predictability. To put it all simply, I am not so interested in how something looks, I want to know how it felt to the photographer when the photograph was created, what it felt like to “be there,” to have been the one to push the shutter.