During the pandemic isolating I have spent considerable time pounding the pavements of my suburb getting exercise; also photographing things on those pavements beneath my feet. Here are just three of the images I have captured.
Each year the Canberra Photographic Society conducts two portfolio competitions, one for prints and the other for projected images. This year I decided to create my entry for the projected image event from the pavement imagery. I called the entry Pavement Pounding. The title image repeated the words in the opening paragraph of this article.
Here are the images in the portfolio, in the order presented to the judge, Judy Parker. Each separate image is a triptych. They show shadows, textures, partially eroded surfaces, weeds, shapes, faults lines in concrete, leaves and more. I did a little work to make the edges of each part of each triptych have a slight sort of torn paper edge.
Judy made her comments on each entered portfolio during a Zoom meeting of the Society on 5 May, sharing the images from her computer monitor screen as she spoke about them. A few days later Judy’s commentary was circulated to all the Society’s members. This is what she said about my portfolio: “A well-observed series of triptych groupings of extremely simple but emotionally gentle subject matter. I found this set very graphically satisfying and quite beautiful. The mix of organic and more geometric surfaces and the linking within and across the sets make this a particularly effective portfolio.”
Judy gave my portfolio a score of 4 out of 5. I was not amongst the top scoring entries. The winning portfolio scored 5. Numerous others scored either 4.5 or 4.
The winner was Marta Yebra with “After the Fire”.
Judy said it “is a strongly observed, highly graphic and beautifully presented set of four images in the aftermath of recent fires. The high angles, both distant and downwards, give an overview of the general (with the damage contrasting with the distant green) and the detail, with tortured trees and layers of ash. The sequence, including the visual links between images, makes this a highly emotive and successful portfolio. The precision of the detail heightens the starkness of the subject and strengthens the communication.”
The two runners up were Dave Basset’s “Country Pub” and Sarah Ausserlechner’s “Orcas in Alaska”.
Judy’s comments: “All in the one location and presumably on the same occasion, this very well executed and presented set of people studies, passing in front of a country pub and its occupants, is particularly well-timed and empathetic. Crisp captures, entertaining in their identification of character (even the Renaissance portrait in the window), these are a wonderful set of characters in an iconic location.”
Judy’s comments: “A very well-photographed set of four Orcas in motion. I love the water details as well: ripples, spray, bow waves and the neutral tones of cold water. Precise focus and stop-motion: “the frozen moment” literally. Whether formation, solo or interactive groupings, the format and presentation of this group of images make it a clearly seen and empathetic description of a rare sight. Including the strongly motivated male. A very well-integrated set. Well done.”