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INBOX<br />
was a title given to the<br />
train that ran between<br />
Kings Cross and Edinburgh,<br />
not the locomotive. As your<br />
letter suggests, Flying<br />
Scotsman should not have<br />
been described as a steam<br />
train, and to be technically<br />
correct, it’s a steam<br />
locomotive – Michael<br />
Topham, deputy<br />
technical editor<br />
A matter of taste<br />
I have been a member of<br />
a camera club for 63 years,<br />
so it is not surprising that John<br />
Heywood’s letter (A reminder<br />
to judges in Inbox, AP 9 April)<br />
grabbed my attention. The<br />
next page I always turn to<br />
on receiving my AP on a<br />
Saturday is Roger Hicks’s<br />
column, and on this occasion<br />
it was a critique of ‘Abstraction<br />
#X, Wall Meets Floor’, 2005,<br />
by Pavel Banka. The two<br />
contributions triggered a<br />
memory of a club competition<br />
we had some years ago,<br />
when I showed a print of the<br />
above image entitled<br />
‘Freedom’. It’s a shot of a gull<br />
crossing the tide line, taken<br />
from a nearby hill with<br />
a Kodak Brownie Twin 20<br />
camera. The judge’s<br />
immediate response was:<br />
‘This photograph leaves me<br />
cold. I really wonder why it<br />
was taken.’ Not a particularly<br />
helpful assessment, but<br />
© VANDA RALEVSKA<br />
accepted as an honest opinion<br />
of my work. I entered the<br />
same print in the next monthly<br />
competition, where the judge<br />
was a photographer with<br />
numerous international<br />
competition and salon entries<br />
to his credit: it won fi rst place!<br />
What did I learn from the<br />
experience? Well, three things:<br />
there is ‘your taste’, ‘my taste’<br />
and ‘no taste’. My experience<br />
of club judges has been that<br />
the vast majority do a good<br />
job, giving their time and<br />
experience generously. The<br />
very few, such as those in<br />
John Heywood’s case,<br />
should be regarded as light<br />
entertainment and do not<br />
have to be asked to come<br />
again. To paraphrase Roger<br />
Hicks’s concluding sentence:<br />
for me, looking at others’ work<br />
is how we learn to appreciate<br />
photography, and is the main<br />
purpose and real value of<br />
camera clubs.<br />
Clifford Brown, Somerset<br />
Well said, Clifford. As a<br />
judge in several major<br />
national photographic<br />
competitions, I’m often<br />
baffled by the tastes of<br />
the other judges, but I’m<br />
always interested to hear<br />
the reasons for their likes<br />
or dislikes. Photography is<br />
subjective, and at an<br />
amateur level should be<br />
more about trying to please<br />
ourselves, rather than<br />
second guessing the tastes<br />
of a random judge. If others<br />
happen to like our work<br />
then that’s a bonus – Nigel<br />
Atherton, Editor<br />
In next week’s issue On sale Tuesday 17 May<br />
Landscape<br />
loversÉ<br />
Don’t keep your landscape photos<br />
a secret – join a collective<br />
One judge wasn’t impressed by this image, while another loved it<br />
Canon EOS 80D<br />
Michael Topham finds<br />
out whether Canon has<br />
another game-changing<br />
DSLR in the shape of<br />
the 24MP EOS 80D<br />
Sony FE 85mm<br />
f/1.4 GM<br />
Richard Sibley tests<br />
Sony’s telephoto<br />
prime lens for<br />
Alpha 7 cameras<br />
Life’s a beach<br />
Jon Gibbs explains how<br />
to seek out the subtle<br />
beauty of sand dunes<br />
© CLIFFORD BROWN<br />
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