Also note, all image titles must be entered through the online system here as well. This helps ensure titles are printed on labels and certificates with the spelling you prefer 🙂
We have booked the Dunedin Community Gallery for the exhibition and so our meeting on the 11th September will be the official opening evening and then the images will be on display 12th-14th September.
Images are being selected for the Open section by Alan Dove, and for the Natural History section by Ross McIvor.
Details for entering:
Spring Print Exhibition is open to all financial members of the Society
Members can submit up to six entries in each of the Open and Natural History sections
Images previously accepted in seasonal exhibitions are not eligible
Images must be the original work of the exhibitor
Images may be trade or exhibitor printed
Prints must be mounted on a firm backing and have a mat
Prints can be any size to fit within the mat size you use:
Minimum size of mat 25cm x 30cm ( 10″ x 12″ )
Maximum size of mat 50cm x 40cm ( 20″ x 16″ )
Exhibitors name, image title and section must be on the reverse side of mount, at centre top
Image titles must be entered through the online system here.
In this 3 part special feature Dunedin Photographic Society member Jenny Longstaff shares how she goes about creating her fascinating artworks that start as simple photos. [PART 1] [PART 2]
Here is another design, utilising just one photo (a maple tree in Dunedin Botanic Garden) copied and modified with various Photoshop effects. The photos were then positioned and arranged in InDesign to a large file size as the final design was printed onto a PVC “banner” for display in the Botanic Garden.
Photoshop effects included manipulating colour balance and channel mixers, inverting colours, and using “twirl” in the “distort” filter menu.
The design is called “Variations for Vivaldi”, aiming to achieve a feeling of The Four Seasons and musical rhythms (the 5 wriggly lines at the bottom of the banner).
In this 3 part special feature Dunedin Photographic Society member Jenny Longstaff shares how she goes about creating her fascinating artworks that start as simple photos. [PART 1]
Here is another design, called “Maritime Networks”, created from 4 separate photos of fishing net details (location: Taieri Mouth) arranged into patterns, with a photo of fishing boats (location: Moeraki).
I chose 4 fishing net photos, paying attention to the colours and angles of the rope strands, then in Photoshop I modified the proportions so they were each equal-sized squares. The photos were then placed on a blank page in InDesign program, repeated and mirror-imaged as necessary, achieving a kaleidoscope effect – my version of “knitting” the designs into fishermen’s jerseys (or guernseys, or Arran-Isle patterns) As an aside: did you know that, in the past, each fisherman’s hand-knitted woollen jumper was unique, so he could be identified if he drowned?
You will notice that the top woven band includes vertical fish-shapes. The top circle represents the Moon; the bottom circle is the Earth, and the large dotted circle represents the connection with the Moon influencing the tides. It also represents maritime navigation with the stars or lights.
In this 3 part special feature Dunedin Photographic Society member Jenny Longstaff shares how she goes about creating her fascinating artworks that start as simple photos.
The first 2 images are repeat patterns:
a kereru native NZ pigeon – photographed on my back yard clothesline
an Australian rainbow lorikeet – photographed when I was hand-feeding it at Broulee on NSW south coast.
I removed the backgrounds (in Photoshop) so the shapes of the birds were clearly defined. Through my past working life as a book designer, I am familiar with the InDesign program, so I use that to position my photos on a blank page (dimensions to my own choice), then arrange copies of the photo to create the repeat patterns. Using commands such as copy and paste, mirror image, and flip vertically or horizontally, or changing the angle of placement, brings in as much variety as I need.
For the kereru design my main preoccupation was to create an ambiguous design of positive and negative areas that would not be immediately recognisable. In fact, some people never see the birds until they are pointed out to them!
For the lorikeet parrot designs I was playing with the vibrant colour arrangements. The images were included in an exhibition I held during the International Science Festival, which I called “Pigments of Imagination”, aimed at children. It was about colour theory and mixing, so the bird’s plumage was a good example of primary and secondary colours. I arranged them to enhance the feeling of rhythm and energy, and colour vibrations. A drop-shadow effect was added to the larger single bird to make it more 3-dimensional.
Almost a dozen DPS members met at the railway station in warm sunny conditions two
weeks ago. Our drivers took us out past Outram to Lake Mahinerangi. First we took some overviews of the lake and village working with gently windswept tussock grasses for foreground interest. Next stop nearby was the Canton stamping battery used 100 years back to extract gold from quartz rocks. Lots of rust and lichens to add texture to our shots.
After a quick drive to Middlemarch caffeine levels were restored and we were ready for the 20 minute walk into Sutton Salt Lake. This was cleverly timed so we arrived just before sunset and the unusual rocky landscape of schist torrs was enhanced by the long shadows. There was only a little water in the lake which is the only salt lake in NZ fed by rain only and no streams in or out.
The sunset itself was not so dramatic but with a full moon rising over hills to the north east and lake reflections there was plenty of exciting photography to be done.
We made good time home in the dark and would like to thank our organisers and drivers for an interesting and satisfying afternoon.