One good thing to come out of this was that I discovered how useful a 20mm lens is in cramped and crowded situations. you can also photograph people up close without them realising they are in the frame.
The poultry show turned out to be more of the same old same old. There's not much left that I haven't already photographed. I need to get there earlier to catch the penning of the birds, and wangle my way in to the judging if I'm to get anything radically different to what I already have on file. even so I did manage to get one picture I'm happy with. There's a possibility for making some more pictures like it to produce a grid.
I do pictures which do use standard compositional techniques. Bearing in mind that composition isn't just how things are arranged in the frame. The use of colour or tone is also a part of the compositional process. I liked the red, white and blue in this sheep picture, as well as the slight repetition. Serendipitously the blue cable follows the arch of the right hand figure's back.
As well as in the pig ring I continued my quest to make complicated pictures containing multiple people in different poses. I have a great admiration for photographers who pull this feat off on a regular basis. It beats me time after time. I get close, but never seem to really nail it. When animals are involved it gets a whole lot harder too!
The other day I made a picture which was prompted mostly by the reds and whites, set off by hints of green. It also worked as part of my tackle shopping project. As it happened some large printing paper arrived the same day so I made a 12x18 inch print of the frame to test the paper out. I then stuck the print in a frame. Two things happened to the picture. Once framed it looked like a serious picture in a way it doesn't on a computer screen - not even when it fills that screen. Mounting and framing photographs seems to have that effect on photographs.
More interestingly at the larger size I began to see things in the picture I hadn't noticed either at the time I took the shot, or when I'd looked at it on the computer. The most striking being that the water in teh kettle is boiling!
Apart from the fact most hobbyists wouldn't think of taking a photograph of a subject like that, to them it would be a snapshot unworthy of framing, they wouldn't have considered the content of it as part of the composition. That green P on the box of teabags, to me, is an important aspect of the whole frame as much as the patches of red that work across it.
In the frame above with the man bending over his pig the striding judge and the pig in the background are important to the picture. I'm pretty sure hobbyists would advise me to crop that one to eliminate the negative space of the grass in the lower left and concentrate on the man and his pig. But that would defeat the point of the picture. Do these people never look at paintings which allow the eye to wander and discover small details? Important details. These same hobbyists drool over how much detail their expensive lenses and high pixel count cameras can record, but only want to use it to pick out the barbs on a bird's feathers or the eyelashes of a baby. Supposing they aren't nullifying this resolving power by shooting the lens wide open and making most of the picture a mushy blur, of course! That's probably something else 'wrong' with my pig picture. I should have shot it at f/1.8 to blur the background 'distractions'!
More pics from the show here.