Exposé

C e l b r i d g e C a m e r a C l u b

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Design and Layout - Colm Kavanagh

Images are the property of the individual photographers that appear in this publication. They cannot be reproduced in any form without the knowledge and permission of the photographer.

Published by Celbridge Camera Club October 2007

Celbridge Camera Club, The Slip Hall, Celbridge, Co Kildare

www.celbridgecameraclub.net

© Celbridge Camera Club

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C o v e r p h o t o g r a p h y b y P e t e r R o s s i t e r

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Design and Layout - Colm Kavanagh

Images are the property of the individual photographers that appear in this publication. They cannot be reproduced in any form without the knowledge and permission of the photographer.

Published by Celbridge Camera Club October 2007

Celbridge Camera Club, The Slip Hall, Celbridge, Co Kildare

www.celbridgecameraclub.net

© Celbridge Camera Club

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It is with great pleasure that I introduce you to Celbridge Camera Club’s first venture into publishing. This Exposé represents the work of a variety of photographers within our club. This first

venture is collective in nature and presents images that have been taken over a period of years. In future editions we hope to feature

the current and most recent work undertaken by members.

The purpose of the Club is to foster and promote the visual art of photography. Members are encouraged to express themselves through their photography in such a way as to presents their ‘eye on the world’. The photographs presented cover a vast array of subject matter and each photographer has placed their personal

artistic stamp on each image.

Many thanks are due to all the photographers who have chosen to display their work in this Exposé. Particular thanks is due to Colm Kavanagh who put this publication together and to Ciaran Whyte who opened the door and showed us the way. Thanks also to the

‘Book Committee’ who guided the process.

I do hope you enjoy your visual journey through this Exposé and that it will enthuse you to make new and exciting

images in the future.

Edel MoranChairpersonCelbridge Camera Club 2007/2008

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he expressive qualities of an image derive from the photographer’s ability to abstract, to select parts from the whole. The process of abstraction is seeing the basic form of a scene and recognizing the elements that comprise it. Good visual design can be developed by learning how to abstract from subject matter the important visual components of line, color, texture, pattern, and form. While the art of seeing involves the recognition and identification of things we see, such as a pine tree, ripples on water, or the petal of a flower, it is, more importantly, the ability to see their textures, lines, forms, patterns, and colors, not only as things in themselves, but also as the basic elements of visual design and composition. Expression is the primary content of vision and the photographer uses these elements contained in the subject matter to convey that expression.

These are the components of visual design or composition, but the energy that gives life to expression is visual tension. Expression is based on tension. It could be said that all physical objects possess tension and we perceive the tension between them when we look at an image. The relative size and placement of lines, forms, textures, patterns and colors interact to create visual tension. The photographer must use the balancing properties of order and stability to effectively control and direct the expressive forces of tension.

We can control tension by the way we organize and balance objects, forms, textures, lines, patterns and colors in the image. Tension may not only be conveyed through visual design, but also through thematic content such as rising and falling, approach and withdrawal, weakness and strength, harmony and discord, etc., as it is part of our lives and occurs in the events of nature.

Lines and color have great expressive power and are very important in visual design. Lines have position (horizontal, vertical, and oblique), length, and direction (they can move our eyes and attention through the picture space). The careful use of lines can bring both movement and simplicity to compositions. Few lines in an image can make it simple, and many lines are expressive when they work in unity. Horizontal lines imply stability and a sense of calm. Vertical lines can convey strength or rigidity. Oblique lines are perhaps most expressive because they bring movement and activity to a composition. Curved lines are not as strong as straight lines but are important to visual design because they can slow the viewer down by leading them more indirectly through the picture space. Images with great detail or subtlety benefit from the presence of curved lines because they induce the viewer to go slower, increasing the likelihood that these elements will be seen and appreciated.

EX P R E S S I O N, V I S U A L DE S I G N, A N D T H E AR T O F SE E I N G

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When beginning to compose an image we are usually faced with the consideration of where to place the main subject of focus, also known as the center of interest. A helpful concept for this is called the rule of thirds. Simply put, if you divide the image space into thirds both horizontally and vertically, you have an area divided into nine boxes. By placing the center of interest on or near the intersecting lines you have moved it away from the static center of the image space. These locations allow you to work with the elements of visual design to create tension and movement in the composition. This is not a fast rule, but a useful place from which start.

In landscape photography, because the photographer is presented with visual elements that already exist, he works with two kinds of design: the design he observes and the design he creates by abstraction and selection. When we find subject matter and begin to engage in the process of creating the image, we must first consider what the subject matter expresses (theme, subject, emotion, etc.). Then we must determine how that expression was achieved by means of the colors, lines, forms, patterns, and textures inherent in it. Finally, we must understand how we respond to it. Perhaps the quiet, placid lake expresses tranquillity and restfulness by its subdued colors and the long horizontal lines of the far shore and the undulating bands of stratus clouds reflected in the water. When we have answered these questions we can proceed to use and organize the elements of visual design to clearly express the subject and how we feel about it.

The photographer’s challenge is the creative and appropriate use of visual design such that the subject and theme are clearly and effectively expressed. The subject matter we choose and the way in which we express it through visual design and techniques we employ (time exposures, telephoto lenses, extension tubes, etc.) is also an expression of ourselves. When our images begin to portray a consistent and discernible mode of expression, we have developed our own unique photographic style.

One of the best way to learn and develop as a photographer is through practice and experience. The ideas and concepts discussed here may not be fully realized until you begin to see them appear in your photographic images. At that point, understanding and applying them in a conscious way begins the real process of developing and refining your creative and photographic abilities. The concepts and application of visual design are vital to clear and effective photographic expression. With practice, visual design can become a natural and integrated part of your seeing.

(Extract from ‘Photographing the Art of Nature’ by Bruce

W. Heinemann)

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Cliff Hutchinson...page 9

Declan Hancock...page 10

Peter McCormack...page 13Liam O’Reilly...page 12

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Cyrus Sangari...page 8

Edel Moran...page 11

Premier Sect ion

Vincent Mc Namara...page 14

Dallas Camier...page 18

Gerry Kerr...page 15

Joe Geraty...page 17

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Lillian Webb...page 16

Mark Sedgewick...page 19

Colm Kavanagh...page 21Derek Bennett...page 20

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C y r u s S a n g a r i

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C l i f f H u t c h i n s o n

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D e c l a n H a n c o c k

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E d e l M o r a n

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L i a m O ’ R e i l l y

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P e t e r M c C o r m a c k

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V i n c e n t M c N a m a r a

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G e r r y K e r r

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L i l l i a n W e b b

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J o e G e r a t y

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D a l l a s C a m i e r

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M a r k S e d g e w i c k

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D e r e k B e n n e t t

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C o l m K a v a n a g h

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Advanced Sect ion

Aida Best...page 25 Ciaran Whyte...page 26

Chris Culreavy...page 27Brendan Doyle...page 28

Judy Monahan...page 29

Deirdre Byrne...page 30

Bride Maughan...page 31

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Berni O’Reilly...page 32 Francis Monaghan...page 33

Fr. Pat Egan...page 34 Fran Byrne...page 35

Michael Davitt...page 36 Geraldine Pierce...page 37

Sean Shanahan...page 38 Trish Melvin...page 39

Rita Nolan...page 40 David Walsh...page 41

Patricia Craigie...page 42 Lorraine Gilligan...page 43

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A i d a B e s t

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C i a r a n W h y t e

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C l i f f C o l r e a v y

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B r e n d e n D o y l e

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J u d y M o n a g h a n

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D e i r d r e B y r n e

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B r i d e M a u g h a n

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B e r n i O ’ R e i l l y

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F r a n c i s M o n a g h a n

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F r . P a t E g a n

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F r a n B y r n e

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M i c h a e l D a v i t t

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G e r a l d i n e P i e r c e

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S e a n S h a n a h a n

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T r i s h M e l v i n

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R i t a N o l a n

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D a v i d W a l s h

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P a t r i c i a C r a i g i e

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L o r r a i n e G i l l i g a n

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Novice Sect ion

Brid Liddy...page 46 Charles Meiklereid...page 47

Christine Taylor...page 48 Margaret Finlay...page 49

Mark Donavan...page 50 Mark O’Brien...page 51

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P.J. Hyland...page 52

Susan McCartney...page 54

David Giles...page 56

Frank Butler...page 55

Eoin O’Reilly...page 53

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B r i d L i d d y

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C h a r l e s M e i k l e r e i d

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C h r i s t i n e T a y l o r

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M a r g a r e t F i n l a y

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M a r k D o n a v a n

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M a r k O ’ B r i e n

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P J N y l a n d

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E o i n O ’ R e i l l y

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S u s a n M c C a r t n e y

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F r a n k B u t l e r

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Intermediate Sect ion

Adrain Doyle...page 59 Aoife Kerr...page 6o

Emer Prenderville...page 61 Jolanta Rossiter...page 62

Peter Rossiter...page 63 Merv Colton...page 64

Toni Ireton...page 65

Robbie Francis ....page 67

Michael Linehan...page 66

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Inte

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A d r i a n D o y l e

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A o i f e K e r r

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E m e r P r e n d e r v i l l e

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J o l a n t a R o s s i t e r

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Inte

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P e t e r R o s s i t e r

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Inte

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M e r v C o l t o n

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Inte

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T o n i I r e t o n

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M i c h a e l L i n e h a n

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Inte

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R o b b i e F r a n c i s

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