Noel George

Some people keep dogs, but I have a camera which provides an excuse for taking long walks. These walks should, and often do, end with a sojourn at a hostelry which sells good beer, preferably that produced by the brewery in Stanhope Street.

Unlike dog walking, exercising with a camera is a sociable activity and the companionship of fellow photographers, especially the members of the 'back row fraternity', lessens the burden of carrying a heavy camera bag while the thought of a refreshing pint (or four) supplies the stimulus for many photographic masterpieces.

Sometimes these works of art are not fully appreciated by those who judge our competitions. But so what! Being a member of a photographic society is all about companionship and enjoyment and at times a meeting of like minded people: after all, polishing trophies can itself become a burden which could drive a man (or woman) to drink.

Noel Greenwood CPAGB

Innovative, stunning, breathtaking, classic, thought provoking.

The above are just a few of the terms never used when viewing my photographs. I have always found the seeking and taking of photographs very enjoyable whether going solo or in the company of a select few. I will, at whim, photograph dustbins, trees, birds or any disparate subject that takes my fancy.

I decided some considerable time ago that the reason for taking photographs should give me pleasure and if others found some merit or enjoyment in them then that was an added bonus. I have entered competitions in the past but have discovered that in most cases my efforts have failed to trouble the scorer though I have found that it is an excellent stage to practise anger management.

I have recently moved over to using a digital SLR but still have a yen to go out with my film camera and couple of slide films but, perhaps, if I take many hundreds of digital images I might eventually hit the jackpot (this strategy was suggested by a past President of SLPS when praising the success of one of our members).

Eric P. Garnett ARPS CPAGB

Eric got involved in photography though the study of fine art. Using photography as a starting point for researching and recording subject matters, exploring landscapes, and the inspiration of capturing and illustrating that 'magical last rays of light'.

At his disposal a choice of two cameras : Bronica EIRS 645/Olympus 35m. Film type:Velvia ASA50 Building up a photographic portfolio of landscapes he joined the slps to further pursue his interests and technical abilities. which enabled him to gain his LRPS and CPAGB distinctions.

Additionally his photographic horizons broadened with entering the monthly comps. Giving him the opportunity to build his range as a photographer. Applying his artistic/analitical sense to produce both stimulating and interesting pieces although his artistic eye for composition and knowledge gained through practice was key.

Eric has applied him self in many subject matters, but his interest from a personal perspective has grown through his passion of nature. He was influenced by the wildlife photographer John powers FRPS and thus purchased a macro lens. thereby developing and honing in on the study of such things as: 'insects - butterflies', fungi,flowers, rocks and water. Eric remains flexible with his approach to photography, subject matters varying according to seasonal changes, weather conditions and location based around the british isles. By applying himself accordingly, he has just achieved success in the ARPS with an outstanding panel of butterflies.

As yet all his national and international success has come in from other fields, i.e. figure work but Eric however remains completely focused and true to himself.

Martin Reece MBE ARPS

Having been interested in photography and owning a camera for some 40 years I have developed my photography in many different ways. A person's photography usually runs along side their hobbies and interests. I have to own up that in my early days of photography I was a train spotter and as a consequence I used to shoot a lot of black & White images of trains however I soon realised that there were other things in life. The majority of my photography was shot predominantly on slide film starting with Agfa CT 18 and latterly Fuji Sensia & Provia.

Over the years I have owned numerous 35mm cameras starting firstly with the Ilford Sportsman, then a couple of Yashica Cameras and the great Contax 139. When I joined the SLPS and seeing the high standard of work, I started to take things more seriously. As a consequence I decided to go down the Canon EOS route and I have owned a number of Canon Cameras with best being the Canon EOS 1N.

The benefits of being a club photographer is that you are learning from others all the time as well as ultimately photographing things that you would not normally take. This should make you a better photographer. I know that I am a better photographer for being a member of the SLPS. Having seen my photography improve dramatically I made you decision in 2002 to go digital and that has been the best decision I have made. I now have total control over everything I do from the taking stage right through to the printing stage. This has again seen another leap in the quality of my photography, which is very satisfying. The benefits of a digital camera can not be understated, being able to instantly see if you have captured the type of image you want, no more waiting for the postman to bring your slides back two weeks later, only to find out that you have not got the picture that you were after. Another bonus as you are not dictated by cost you tend to be a lot more experimental. As a consequence of the digital world I enjoy putting together AV's, which is time consuming but very rewarding when you get it right.

The following are some of the types of photography that I enjoy, Rallying, Landscapes (combined with hill walking), Portraits, Travel Photography, Air shows, Mountain and Winter Photography (combined with Skiing)

One tip do not just take an image without exploring other viewpoints, I guarantee that you will find something a little different if you spend a little time exploring the options. The other thing is research your subject. Also ensure that your presentation does not let your picture down.

I have had reasonable success in national competitions as well as having images published in magazines and books as well as obtaining my Licentiate and Associate of The Royal Photographic Society. My aim at the moment is to achieve FRPS status having just recently hit the bar with my Fellowship Panel of the Venice Carnival in the Visual Journalism and Documentary section.

John Dwyer

Info available soon.

Pam Clarke

Pam Clarke has lived and worked in Liverpool since 1979. She first joined South Liverpool Photographic Society (SLPS) in 1987, and is a former committee member and syllabus secretary. Pam trained in photography at the Open Eye and at Hugh Baird College, and she continues to develop her skills through regular attendance at SLPS meetings.

Pam's particular interest is in portraiture, but she enjoys photographing the world around her from a range of viewpoints. She uses a Bronica SQB manual camera (medium format and 35mm) and a Gossen Lunasix 3 light meter (which belonged to much-missed society member, Sid Cairns). Pam processes and prints all her monochrome work using traditional (chemical) methods. Her colour work is usually produced on transparencies.

Above all, Pam sees photography as an art, and she intends to continue 'painting with light' for many years to come.

Annual Exhibition 2007

This gallery shows pictures from the 2007 Annual Exhibition held at the Anglican Cathedral.

Ian Kemp

Info available soon.

Lynn Hilditch LRPS

Lynn's interest in photography initially came out of her academic study of film and the visual arts at University during the mid to late 1990s. She studied film and photographic history as part of her undergraduate degree at Liverpool Hope University and the University of Rhode Island in the USA, and then as part of her Masters, researching the work of American Modernist Man Ray. Subsequently, this research resulted in an LRPS and a growing interest in the work of the female Surrealist photographer and war correspondent, Lee Miller, whose work she is studying as part of her current doctoral research.

Lynn has also lectured on various aspects of 20th Century American Photography (including the work of Ansel Adams, the Magnum photographers Henri Cartier- Bresson, Robert Capa, Elliott Erwitt, Dennis Stock and Eve Arnold, and the post- modernist Cindy Sherman) at Liverpool Hope.

Technically, Lynn is predominantly a film worker, who occasionally works digitally. She considers slides to be her main area of interest although she has started producing more monochrome prints in her newly-built darkroom. As something of a newcomer to the competition circuit, she hopes to take inspiration from some of the more experienced SLPS members in order to improve her own work.

Jane Evans

I've been a member of the SLPS for two years. My motivation behind joining the club was due to wanting to make friends with like-minded people. I found that after finishing university, the chats outside the school, in the playground, and at the gym were not satisfying enough. Photography for me is just something I enjoy doing. I don't see it as a competitive medium and I haven't entered any of the club competitions. I am happy seeing things, talking honestly and being free to do my own stuff.

My very first camera was a compact kodak using 110 film. I was thrilled taking this out on family holidays around Europe. At 16 I got into art school studying general art and design, photography being a part of that course. In 1997 I went to Camerberwell College of Arts in London to do a BA Hons degree in Graphic Design. During my first year I discovered the printing rooms and the darkrooms - they were fantastic. However, I had to specialize and opted for illustration and used the ceramic paper making machines, which I did my works on, using mixed media, wax, inks, pva, and tissue paper.

At art school, doing photography I found aided my compositional and observational skills and I have always approached the medium through art. In London I did alot of sequences of the Thames and during time out went down to Brighton.

In 2001, whilst studying for my MA Multimedia Design, I found that the only way to produce original pieces of work was to do my own stuff, and to put myself into my work. It was towards the end of the second year that I created my own portfolio website www.asfaras.co.uk producing visually interactive narratives - making montages, writing, photography or mixing simple scripts together to achieve interesting interactive results. At the time I was using an SLR Pentax super mainly doing works around my local environment and documenting the changes through the seasons in conjunction with the concentrated urban environment, photographing objects that I found interesting in someway.

Since my rewind button has busted on my SLR through overuse, I now use a Nikon 5000 digital camera. I find it a little restrictive with regards to focusing. My Pentax was a nicer camera, but the Nikon has enabled me be experimental. I can now work on the fly, loading what ever images need more easily and therefore load elements straight into either photoshop or illustrator. Using the software programmes, I can cut up images, and move pieces around the screen. However, photography still remains a vital part of the design process.