Jaarprogram vir 2019

Tafelberg Fotografieklub

Datum Onderwerp Tipe byeenkoms
22 Januarie Bestuursvergadering
5 Februarie WILD LIFE/ Wild Lewe Vaardigheid
19 Februarie WILD LIFE/ Wild Lewe Kompetisie
7 Maart SANLAM UITSTALLING
12 Maart Bestuursvergadering
19 Maart SCAPES Kompetisie
2 April MONOCROME/Monochroom Vaardigheid
16 April MONOCROME/Monochroom Kompetisie
7 Mei HUMAN PORTRAITURE Menslike portretkuns Vaardigheid
14 Mei Bestuursvergadering
21 Mei HUMAN PORTRAITURE Menslike portretkuns Kompetisie
4 Junie ABSTRACT / Abstrak Vaardigheid
18 Junie ABSTRACT / Abstrak Kompetisie
9 Julie SHAPES & COLOURS

Vorm en kleur

Vaardigheid
16 Julie Bestuursvergadering
23 Julie SHAPES & COLOURS

Vorm en kleur

 

Kompetisie
6 Augustus MACRO / CLOSE UP

Makro en nabyskote

Vaardigheid
20 Augustus MACRO / CLOSE UP

Makro en nabyskote

Kompetisie
3 September STREET PHOTOGRAPHY

Straatfotografie

Vaardigheid
10 September Bestuursvergadering
17 September STREET PHOTOGRAPHY

Straatfotografie

Kompetisie
8 Oktober FOOD / PRODUCT PHOTOGRAPHY

Voedsel / produkfotografie

Vaardigheid
22 Oktober FOOD / PRODUCT PHOTOGRAPHY

Voedsel / Produkfotografie

Kompetisie
5 November WATER Vaardigheid
12 November Bestuursvergadering
19 November WATER Kompetisie
29 November Jaareindfunksie

 

SET SUBJECTS FOR 2019

AS TAF CLUB IS AN ACTIVE MEMBER OF THE PSSA, THE CATEGORY DEFINITIONS AS SET OUT BY PSSA FOR SALON SUBMISSIONS WILL APPLY TO THE MONTHLY SET SUBJECT WHERE APPROPRIATE. PLEASE READ THROUGH THESE CAREFULLY BEFORE MAKING YOUR SUBMISSIONS.

FEBRUARY: WILDLIFE

Wildlife, birds and garden birds may include images of undomesticated animal species in their natural habitat.

Allowed:

Wild Animals in their natural habitat

Endemic garden birds

Wild birds in their natural habitat

Not allowed:

Domesticated animals and birds – pets

Aquarium fish

Insects

Animals in captivity

Human elements shall not be present, except where those human elements are integral parts of the nature story such as nature subjects like barn owls or storks, adapted to an environment modified by humans, or where those human elements are in situations depicting natural forces like hurricanes or tidal waves. Scientific bands, scientific tags or radio collars on wild animals are permissible. Photographs of artificially created hybrid plants, cultivated plants, feral animals, domestic animals, obviously set arrangements, mounted specimens including insects or animals doped or killed for macro (or any other type of photography), are ineligible, as is any form of manipulation that alters the truth of the photographic statement.

Any action which causes harm, no matter how unintentional it may be, is not acceptable. The use of live bait and actions such as chilling, freezing, spinning or light anaesthesia of any creature is unethical and therefore not acceptable. No techniques that add, relocate, replace, or remove pictorial elements except by cropping are permitted. Techniques that enhance the presentation of the photograph without changing the nature story or the pictorial content, or without altering the content of the original scene, are permitted including HDR, focus stacking and dodging/burning. All allowed adjustments must appear natural. Colour images can be converted to greyscale/monochrome. Stitched images are not permitted. Infrared images, either direct-captures or derivations, are not allowed.

Please note that this month’s set subject is defined as WILDLIFE—NOT nature, and that the appropriate rules are applied.

MARCH: SCAPES (Urban and/or Rural)

Scapes is a term that covers the depiction of scenery such as mountains, valleys, trees, rivers, forests, sea, cities etc. where the main subject is a wide view with its elements arranged into a coherent composition.  A horizon often (but not necessarily) forms part of a “scape”.  Scapes may be natural or man-made.

Derived terms include: • Cityscape • Seascape • Nightscape • Snowscape • Streetscape • Urban scape • Sandscape

APRIL: MONOCHROME

Monochrome is a black and white image. A black and white work fitting from the very dark grey (black) to the very clear grey (white) is a monochrome work with the various shades of grey.

A black and white work toned entirely in a single colour will remain a monochrome work able to stand in the black and white category. On the other hand a black and white work modified by a partial toning or by the addition of one colour becomes a colour work (polychrome) to stand in the colour category.

In this category the subject matter is totally open

Manipulation is allowed. Monochrome images only.

MAY:  HUMAN PORTRAITURE:

Images must be of humans only. A likeness, personality and mood of a human where that subject is dominant in the image. Portraiture is not restricted to head and shoulders and may include just a part of the face, a back view or even a full-length study. A human-interest image depicting a person or persons in an interactive, emotional or unusual situation, excluding recreational and sports action is also allowed.

JUNE: ABSTRACT:

An exercise in composition for the sake of art.  The real identity of the abstractionist’s subject is not important and the result is not intended to be anything.

JULY: SHAPES & COLOUR

AUGUST: MACRO / CLOSE UP

MACRO – manipulation is allowed* Macro photography is extreme close-up photography, where you get close to a small subject by physical or optical means. Starting at approximately 1/4 life size i.e. when the subject being photographed is four (4) times the size of the film frame or digital sensor. There is no limit on the upper end. The size of the subject in the finished photograph is greater than life size. *Macro fits as a subsection of Open as well as Nature; when entered in a Nature section, manipulation is NOT allowed.

SEPTEMBER: STREET PHOTOGRAPHY

Street photography records un-posed scenes in public places. The primary subject is people and/or symbols of people, at rest or in motion, alone or with others, going about their everyday activities. Manipulation should be confined to colour correction and judicial cropping. (PSSA Definition)

OCTOBER: FOOD/PRODUCT PHOTOGRAPHY

Food photography is a still life photography genre used to create attractive still life photographs of food. It is a specialization of commercial photography, the products of which are used in advertisements, magazines, packaging, menus or cookbooks. Professional food photography is a collaborative effort, usually involving an art director, a photographer, a food stylist, a prop stylist and their assistants

Product photography is a branch of commercial photography which is about accurately but attractively representing a product. The principal application of product photography is in product catalogues and brochures, with a proportion of product images also being used in advertising.

NOVEMBER: WATER

Any images depicting water in any format is allowed, providing that the water is obviously the subject in the image. Water comes in different forms i.e. liquid, solid (ice) and gas (steam) and all are acceptable for this set subject.

From the crashing of turbulent waves against the rocks on a stormy afternoon to the calm crystal-clear reflections in a country dam, there are many ways to photograph water. The blurred milky effect achieved by slowing down the shutter speed or “freezing” the shot using fast shutter speeds to capture the detail in the water. Water can be found all around us, in streams & rivers, waterfalls, the ocean, rain drops, icicles, glaciers, puddles, ice blocks, lakes, dripping taps, morning dew on leaves. The images for this assignment can also be achieved indoors by photographing a reflection through a water droplet (refraction) or a droplet dripping into a glass of water, or the splash of fruit as it is dropped in a jar of water.

PSSA ETHICS STATEMENT

  1. A member of the Photographic Society of South Africa shall act in accordance with all PSSA policies.
  2. A member shall be honest in performing and reporting services to the Society.
  3. A member shall be ethical in making and presenting photographic images.
  4. All members shall practice the Society’s Code of Ethics for Nature Photography and apply the same principles to all genres of photography.
  5. Images submitted for competitions shall originate as photographs by the entrant on photographic emulsion or acquired digitally.
  6. The original image and all elements therein must have been taken by the photographer, whatever photographic medium is used. All actions in reaching the final presentation must be made by the photographer with the exclusion of film processing, un-manipulated commercial scanning and printing.
  7. No images or parts of images downloaded from the internet or copied from any source whatsoever, may be used in work entered in any PSSA event, including any salon or honours application.
  8. Each Image must have a unique title and this title may not be subsequently changed. Once an image has been accepted in a PSSA event, that same image or a like “in camera”, or a “reproduction” duplicate of that image, may not be retitled for entry in any other PSSA event.
  9. An image may only be used once in a particular salon, panel or competition, irrespective of the category, or of the image being in colour or monochrome. No similar images may be used. The same image may be entered in other salons and on any salon where it was not previously accepted.
  10. PSSA will apply a limit on total acceptances per image as defined in the respective Impala and Diamond Rating rules.
  11. Images submitted in Club competitions, workshops and the like shall follow these standards.
  12. Information included in honours and awards applications shall be exact and true.
  13. By virtue of submitting an entry, the photographer certifies the work as his/her own.
  14. Material submitted for possible publication in PSSA publications and/or the PSSA website shall be solely the work of the author(s) and any quotations or input from other material or collaborator(s) shall be carefully cited and appropriate credit given for all contributions used. The author is responsible to obtain permission to use copyrighted material.
  15. Members not in compliance with this ethics statement will be subject to appropriate sanction by the Board which could include loss of membership and/or awards and honours.