Canon Online Round 6 – Results
The results are in for the final round of Canon Online 2018 and another excellent variety of images to challenge our selector. This final round was selected by Chris Parkin APSNZ. Chris is a member of Hutt Camera Club and Hutt Art Society, and teaches photography and Photoshop extramurally through the Southern Institute of Technology in Invercargill. He is passionate about art in all sorts of ways, with his latest experiments being in pottery and watercolours, alongside his photography and digital photo composites. Chris is also part of the organising committee for the 2019 PSNZ National Convention, which he is flagrantly plugging here:hutt2019.org.nz, where the overall Canon Online winner will be announced!
What a great Christmas present, when 79 fantastic photos arrived in my inbox on Boxing Day 2018! This is my first time commenting on the Canon Online competition, and it was a real privilege to see such a variety of high-quality work, exploring a wide range of themes and genres. The privilege was heightened knowing that the leader board for the 2018 competition is wide open and that this is the final competition for the year. Thanks to everyone who submitted images: it was hard to whittle down the body of work to a “top 10”. I hope to see some of you at the 2019 PSNZ National Convention in Lower Hutt!
1. Hawk verses wasps – Jeanette Nee APSNZ
A brilliantly composed shot, with the visceral experience of a predator or carrion eater. The photographer has used muted complimentary colours in the hawk and sky to particularly emphasise the red carcass, and I like the way the curved branch resonates with the arch of the wings.
2. Captured – Dianna Hambleton LPSNZ
The title ‘Captured’ resonates well with this image with the person appearing stuck in the fence. The vivid colours grabbed my attention at first glance, and the mystery of the story held it well. The small splash of green against the red fence helps to draw the viewer into the face, and the crack forms a natural transition point.
3. Kawaha Jetty – Lezanne Gibbs
The sense of movement in the sky contrasts well with the serenity of the lake and the permanence of the jetty. The photographer has used a central composition for the jetty. I think that the balance is offset effectively by the island, creating a strong secondary focal point. I like the use of sepia tone and vignette. The slight colouration left in the jetty leads my eye effectively around the image.
4. Girl on the hill – Val Burns LPSNZ
Great use of leading lines, the sweep of the hills and the contrast in the sky all bring you in to the focal point. I think that the post-apocalyptic nature of the model provides an interesting contrast between the model and the cultivated lines.
5. Over the top – Rachel Hume
Talk about “the decisive moment”! The flailing of limbs and separation between the tackler and #22 give a sense of impending (possibly painful!) contact. The expressions on the faces really help to tell the story.
6. Golden Gannets – Glenda Rees
I like the way that the light emphasises the shape of the birds’ heads, which is very effective against a black background. The gannets’ distinctive markings almost flow into each other, and there is a effective catch-light in the eye of the left-hand bird.
7. Pure Beauty – Julia Home APSNZ EFIAP BPSA
I love the use of low-key lighting with the rim/side lighting giving form to the model. For me, I feel that a little more lighting to the face would help bring out even more emotion.
8. Motueka Salt Baths – Kathy Pantling LPSNZ
A fascinating play with geometric shapes against the soft curves of the sand. I particularly like the use of the green and yellow, with a tiny splash of blue of the person standing next to the bath giving a sense of scale.
9. Solace – Kelvin Aird
I really like the way this photographer has investigated translucency and opacity depending on how the light strikes the veil. I sense a stillness and introspection in this image that captures and holds attention.
10. When God makes it rain – Sue Riach APSNZ
I commend this photographer on entering a true digital photo composite image that does not simply use overlays. There are lovely leading lines from the sun in the corner to highlight the top of the tap, and the cloud distortion help move my eye around this image. The lighting on the tap correlates well with its surroundings, which is often overlooked in photo composite work.