AGS Photographic Competition 2022

Once again, there were many excellent images in this year’s competition.  Classes 6 and 9 were particularly difficult to judge, and the judges were hard-pressed to separate the winners. Because there were so many images of such high quality, the judges awarded one or more images in each class ‘Highly Commended’ status, where they had missed out narrowly on the prizes.

We would like to thank the judges for their hard work (a long and gruelling but enjoyable day of Zoom meetings), and of course all the exhibitors for entering such an impressive array of pictures and making the judges’ job so difficult, but so rewarding.

Entries for this class should feature both a plant (or plants) and the landscape or habitat in which they grow.  The plant or plants should feature prominently in the photo, but be balanced by the landscape; the scenery should support and not dominate the composition, but convey a sense of context and geographical location.

In this class, perhaps more than any other, good composition is key, and that is easier to achieve with a well-defined, compact clump of flowers rather than a meadow full of flowers, spreading out from the primary subject on all sides.  The judges tend to prefer images which show a recession, from the plant as focal point, through the surrounding habitat to the landscape beyond.

First: Ursula Junker, Olten, Switzerland.

• Thlaspi rotundifolium. (now Noccaea rotundifolia)
  
• Bernese Oberland, Switzerland.  July 2021.
• Camera: Nikon D7500 fitted with Nikkor 10-20 mm lens at 10 mm (equivalent 15 mm)
• Exposure 1/320 sec at f22, ISO 500.

The judges loved the depth of field given here by the wide angle lens, allowing a prominent and close-up subject with a detailed portrayal of the habitat and landscape in the background.  There was some discussion about the small clump of grass in the foreground, but on balance the judges felt it was an acceptable element of the habitat.

Second: Karen Gregory, London, UK

• Lilium martagon
• Sella Pass, Dolomites.  July 2016.
• Camera: Nikon D60 fitted with DX Micro NIKKOR 40mm f/2.8 lens (equivalent 60 mm)
• Exposure 1/50 sec at f13, ISO 200.

This lovely photo was second by a split decision.  It captures a fine clump of lilies beautifully, with a pleasing recession of slopes in the background leading towards Marmolada.  Perhaps the lilies should have been slightly smaller in the frame; a view which showed the base of the plants and a little more of the surrounding meadow might have been even more appealing. Also, there are small signs of cloning to remove distractions in the background.  This is allowed, but needs to be done carefully; if the judges notice, it can count against the picture.

Third: Harry Jans, AL Loenen, Netherlands

• Euphrasia collina subsp. diversicolor.
• Photographed January 2011 at Charlotte Pass, 2025m, NSW, Australia.
• Camera: Nikon D90 with 18-200mm zoom lens at 18mm (27mm equivalent)
• Exposure 1/100sec at f18, ISO 400.

This was a very different plant and habitat, and that counted in its favour.  In the foreground, the photographer has focused on a fine plant of a Southern Hemisphere Euphrasia (Eyebright).  The composition is excellent – the focal plant neatly fills the lower right corner without breaking the line of the slope; the meadow of Celmisia behind recedes gently into the clouds.  Ideally, a brighter day would have lent the image a little more contrast and vibrance, though this could in part be added in post processing if desired.

Highly Commended: Ursula Junker, Olten, Switzerland

• Anemone nemorosa.
• Sæbø, Hjørundfjord, Norway. May 2022
• Camera: Nikon D500 with 10-20mm lens at 10mm (15mm equivalent)
• Exposure 1/200sec at f18, ISO 800.

Highly Commended: Harry Jans, AL Loenen, Netherlands

• Caltha polypetala
• Vorotan Pass, 2330m, Vayots Dzor, Armenia.
• Camera: Nikon D90 with 10-20mm lens at 10mm (15mm equivalent)
• Exposure 1/25sec at f11, ISO 320

Highly Commended: Dr. Andrew Ward, Norwell, UK

• Pulsatilla occidentalis
• Kootenay National Park, British Columbia, Canada, August 2022.
• Camera: iPhone 11 back camera at 4.25mm (44mm equivalent)
• Exposure 1/3700 sec at f1.8.

Highly Commended: Bob Gibbons, Wimborne, Dorset, UK

• Ranunculus aconitifolius
• Oberberghorn, Bernese Oberland, Switzerland, June 2022.
• Camera: Nikon D850 with 24-85mm Zoom lens at 30mm
• Exposure: 1/800 sec at f22, ISO 1250

Highly Commended: Andy Scott

• Saxifraga canaliculata
• Fuente De, Picos de Europa, June 2022.
• Camera: Nikon D3200 with 18-55mm zoom lens at 44mm (66mm equivalent)
• Exposure: 1/500  sec at f11, ISO 400.

Harry Jans, AL Loenen, Netherlands

• Chionocharis hookeri
• Dechen, Bai Ma Shan, 4650m, Yunnan, June 2006.
• Camera: Nikon D50 with 14mm lens f2.8 lens
• Exposure 1/50sec at f16, ISO 200.

I would like to mention one last image in this class, one of my personal favourites in the competition, though it was passed over by the judges.  For me, this is a wonderful record of Chionocharis growing on the Bai Ma Shan in Yunnan.  It captures the plant and its habitat perfectly, but is let down by the bright, burnt-out highlights in the sky, which might have been recoverable in post-processing, if the image was taken in RAW format.

In this class the essential element is to feature a plant in its entirety (more in the manner of a botanical study), including all flowers, leaves and stems. The immediate scenery need only suggest a wild location.

 First: Harry Jans, AL Loenen, Netherlands

• Hemilophia sessilifolia.
• Da Xue Shan (east side) 4600m, Yunnan: July 2011.
• Camera Nikon D90 with 50mm f2.8lens (75mm equiv)
• Exposure 1/100sec at f16, ISO 400.

This image has a simple central composition which works fine for this class.  The subject is in excellent condition and full of detail.  The muted tones combine very effectively, and we get a clear impression of the habitat in which the plant is growing.

Second: Harry Jans, AL Loenen, Netherlands.

• Corydalis melanochlora.
• Hong Shan, 4500m, Yunnan: June 2011.
• Camera Nikon D90 with 50mm f2.8lens (75mm equiv)
• Exposure 1/80sec at f16, ISO 400.

I could say almost exactly the same about this second-placed image.  The Corydalis is a wonderful blue, which contrasts appealingly with the shades of the rocks.  Two small splashes of green on the edge of the picture, leaves on the top and left, just tipped the decision in favour of the previous image.  Both could have been cropped out without weakening the image.

Third: Harry Jans, AL Loenen, Netherlands

• Euphrasia striata.
• En route between Cradle Valley and Crater Peak, 1260m, Cradle Mountain, Tasmania: January 2011.
• Camera Nikon D90 with 50mm f2.8lens (75mm equiv)
• Exposure 1/100sec at f18, ISO 400.

Occasionally, one photographer wins two places in the same class.  I don’t think I have ever before seen all three images entered by the same photographer win the prizes in a class.  But in this case, Harry Jans’ photos stood out.  Here we have another Australian eyebright, in fine condition, beautifully supported by the complementary tones of the background.

Highly Commended: Roger Brownbridge, Harrogate, UK

• Bird’s-nest Orchid, Neottia nidus-avis,
• Bort, Switzerland: July 2016.
• Camera: Panasonic DMC-FZ48 with 4.5 – 108mm (25 – 600mm equiv)  at 4.5mm (25mm equiv)
• Exposure 1/125sec at f2.8, ISO 100.

Highly Commended: Cedrik Haskovec, Prague, Czech Republic

• Eritrichium nanum
• Ortler Alps, Italy, June 2022.
• Camera: Olympus E-M5 MkIII with Olympus M60mm (120mm equiv) f2.8 Macro lens
• Exposure: 1/800sec at f8, ISO 200
  

Highly Commended: Liam McCaughey, Ballinderry Upper, Lisburn, Northern Ireland

• Gentiana curviphylla.
• Photographed June 2011 in light conifer woodland at Napa Hai in a protected area just above Zhongdien – Greentours Trip 2011 led by Ian Green.  G. curviphylla is an annual, and doesn’t appear in the AGS encyclopaedia, but gets a mention in Dieter Schummel’s article in the SRGC International Rock Gardener, March 2012.
• Camera: Canon EOS 600D, Sigma 17-70mm at 62mm
• Exposure 1/400sec at f9, ISO 400.

Highly Commended: Roger Brownbridge, Harrogate, UK

• Mountain Houseleek, Sempervivum montanum
• Waldspitz, Switzerland: July 2016.
• Camera: Sony DSC-HX300 with 4.3 – 215mm (24-1200mm equiv)  at 4.3mm (24mm equiv)
• Exposure 1/160sec at f6.3, ISO 200.

Highly Commended: Stepanka Haskovcova, Prague, Czech Republic

• Ranunculus alpestris
• Pass Stelvio, Italy. June, 2022.
• Camera: Panasonic DMC-FZ1000 with 9.1 – 146mm (25-400mm equiv) lens at 9.12mm (27mm equiv)
• Exposure 1/2000sec at f3.2, ISO 125

Here the photographer should be trying to reveal the more intimate beauty of alpines by emphasizing features of special interest, such as individual flower(s), groups of leaves or magnified floral structures. The picture can be taken in the wild, in the garden or in the studio, with natural or artificial lighting.

First: Dr. Andrew Ward, Norwell, UK.

• Geranium ‘Jolly Jewel’
• Nottinghamshire
• Camera: iPhone 11

The judges were captivated by the pattern made by the veins on the petals of this flower.

Second: Stepanka Haskovcova, Prague, Czech Republic

• Hieracium species
• Giant Mountains, Czech Republic.  September, 2019.
• Camera: Panasonic DMC-FZ1000 with 9.1 – 146mm (25-400mm equiv) lens at 9.12mm (27mm equiv)
• Exposure 1/2000sec at f2.8, ISO 125

The backlighting on this simple side-on picture of a Hieracium was lovely, particularly the way it captures the hairs on the stem and calyx.  This was supported by a dark background in complementary tones which provided no distractions.  Perhaps a different angle showing the centre of the flower would have given the judges that little bit extra they were looking for, if it could be taken without losing the strengths of this image.

Third: Stepanka Haskovcova, Prague, Czech Republic

• Pulsatilla vernalis
• Umbrail pass, Switzerland.  June, 2018.
• Camera: Panasonic DMC-FZ1000 with 9.1 – 146mm (25-400mm equiv) lens at 9.12mm (27mm equiv)
• Exposure 1/2000sec at f5.6, ISO 125.

Pulsatilla flowers always make a popular subject for close-ups.  Who can resist the hairy buds and sepals of Pulsatilla vernalis ?  This picture captures the detail of the flower, and its hairy sepals perfectly, holding the detail in the white petals.  However, the rocks in the background are a little distracting, and the angle of the sunlight has produced a heavy shadow in the top half of the flower.

Highly Commended: Bob Gibbons, Wimborne, Dorset, UK

• Hypericum richeri subsp. burseri
• Pyrenees: June 2022
• Camera: Canon EOS R5 with Canon RF100-500mm L lens at 400mm
• Exposure 1/1250 sec at f7.1, ISO 2000.

The judges loved the top portion of this image; the raindrops add a sparkle of magic to the flowers, and the blurred background in dark tones focuses interest on the flower head.  However, they felt all the interest was in that top third, and wanted to crop it to that (shown cropped with the photographer’s permission).  Judged as entered, it was still Highly Commended; cropped, it might well have won the class.

Highly Commended: Bob Gibbons, Wimborne, Dorset, UK

• Noccaea rotundifolia (formerly Thlaspi rotundifolium)
• Maritime Alps: May 2022
• Camera: Nikon D850 with 105mm f2.8 lens
• Exposure 1/250 sec at f22, ISO 250

Highly Commended: Celia Sawyer, Long Compton, Warwickshire, UK

• Pulsatilla alpina.
• Parc Naturel Regional du Vercors, France: May 2022.
• Camera: Apple iPhone 12 Pro at 6mm (116mm equiv)
• Exposure 1/1400sec at f2.0, ISO 25.

This can be in your own garden or a garden you have visited.  The plant(s) may be displayed in a close-up, portrait or wider view.  We tend to go out and take ‘snaps’ of the plants in our garden, but it is well worth spending some additional effort to take better quality images.  In a garden, particularly your own, you have more control over the timing of your photo, so you should be able to take it when the plant is in perfect condition, the weather is cooperative, and the light is good.  You also have scope to use artificial light sources and backgrounds if you deem these to be necessary.

First: Henry Fletcher, Derby, UK

• Glaucidium palmatum leucanthum.
• Own garden. May 2021.
• Camera: Apple iPhone 11 back camera at 4.25mm (36mm equiv)
• Exposure: 1/190th sec at f1.8: ISO 32

This class does not require close-ups, but this one was stunning.  The phone has captured wonderful detail in the flower, and the leaf behind.  The background could have been a little tidier, but even so it was the judges’ favourite in the class.

Second: Cedrik Haskovec, Prague, Czech Republic

• Crocus.           
• Garden, Czech Republic, April 2022.
• Camera: Olympus E-M5MarkIII with Olympus M 12-100mm f4 lens at 100mm (200mm equiv).
• Exposure: 1/4000^th sec at f4.5: ISO 200.

Our judges loved the backlighting on this image of a yellow crocus, but in the end decided that the very dark background was too heavy and dominant.  Perhaps a crop to the top and sides would have helped.

Third: Gail Harland, Norfolk, UK

• Paeonia mascula subsp. russoi.
• Own garden: April 2020.
• Camera: Canon Powershot SX60 HS with 3.8 – 247.0 mm lens (equiv: 21 – 1365 mm) at 18mm
• Exposure 1/1000sec at f5.0, ISO 160.

This peony photo had a lot of ‘wow’.  The flower is captured beautifully, with crisp detail in the lovely backlit pink petals, and in the centre.  Two blue anemone flowers in the background detract slightly, but the strength of the flower captured third place.

Highly Commended: Celia Sawyer, Long Compton, Warwickshire, UK

• Cyclamen graecum.
• Own garden: October 2022.
• Camera: Apple iPhone 12 Pro at 4.2mm (52mm equiv)
• Exposure 1/125sec at f1.6, ISO 32.

Highly Commended: Henry Fletcher, Derby, UK

• Eranthis x. tubergenii.
• Own garden. February 2022.
• Camera: Apple iPhone 11 back camera at 4.25mm (48mm equiv)
• Exposure: 1/120th sec at f1.8: ISO 40

Many of our members grow their alpines not in the open garden but in pots.  Here we would like to see photos of those plants.  This subject gives you the opportunity to apply a great deal more photographic control than plants in the wild:  you can control where you take the photo (indoors or outdoors, with any background you choose), when you take the photo (when the plant is in perfect condition), and time of day, which gives control over lighting and weather.  You can use artificial light sources and backgrounds if you wish.

This year, there were some good images in this class, though there were disappointingly few of them. .

 First: Graham Dennis, Bristol       

• Cyclamen mirabile
• September 2022.
• Camera: Panasonic DC-LX100M2 with 9.1 – 146mm (25-400mm equiv) lens at 34mm (75mm equiv)
• Exposure 1/125sec at f16, ISO 1250.

Our winner is a lovely backlit image of a Cyclamen.  The judges particularly enjoyed the imagination which had been put in to find this unusual angle, looking up at the flowers, though the judges would have liked a slightly wider view so that the tips of the petals were not cropped.  This image appears to have been worked on significantly in a digital editing package, but that did not detract from it.

Second   Celia Sawyer, Long Compton, Warwickshire, UK.

• Convolvulus sabatius ‘Manati’.
• Own garden: June 2022.
• Camera: Apple iPhone 12 Pro at 4.2mm (39mm equiv)
• Exposure 1/3000sec at f1.6, ISO 50.

The judges loved the way this photographer captured the flowers; the side-lighting really brings out the shapes and textures, but they felt that the image would have been improved by cropping at the bottom.

Third: Gail Harland, Norfolk, UK    

• Paeonia clusii.
• Own garden: April 2022.
• Camera: Canon Powershot SX60 HS with 3.8 – 247.0 mm lens (equiv: 21 – 1365 mm) at 10.8mm
• Exposure 1/640sec at f5.0, ISO 160.

Another lovely peony flower, but the photo needed better light to make it brighter and give it more contrast to really make it stand out.

Highly Commended: Henry Fletcher, Derby, UK

• Eranthis x. tubergenii ‘Guinea Gold’
• Own garden. February 2022.
• Camera: Apple iPhone 11 back camera at 4.25mm (50mm equiv)
• Exposure: 1/120th sec at f1.8: ISO 32.

Wild flowers are always accompanied by fauna from the mammoth to the minuscule.  The majority are an interesting distraction, but make popular subjects for many photographers.  Most of us, returning from a trip to view alpine flowers in the wild, will find at least a few photos of wildlife amongst our images.  If the background shows a mountain landscape or alpine plants that gives a welcome context.

Once again this year, the entries for this class were exceptional, and the judges had difficulty picking the winners from their final shortlist of Highly Commended images

First: Bob Gibbons, Wimborne, Dorset, UK

• Old male Alpine ibex, Capra ibex
• Swiss Alps: July 2022
• Camera: Nikon Z9 with Nikkor Z 100-400mm lens and 1.4x teleconverter, giving a focal length of 560mm
• Exposure 1/800 sec at f8, ISO 6400.

In the end the first prize went to this photo of a mature ibex by Bob Gibbons.  The judges loved the detail in the scene, both in the main subject, and in the thistles (Cirsium spinosissimum) and other vegetation along the meandering stream.  But the thing that really marked this image out was the quality of the soft evening light.

Second: Stepanka Haskovcova, Prague, Czech Republic

• Lepus europaeus
• Hochschwab, Austria.  June, 2021.
• Camera: Panasonic DMC-FZ1000 with 9.1 – 146mm (25-400mm equiv) lens at 56mm (166mm equiv)
• Exposure 1/1600sec at f4.5, ISO 125.

This was another split decision.  The judges loved the proximity and the movement in the animal, and the brightness of the eye, but felt there was a slight lack of sharpness around the head, probably as a result of movement rather than shallow depth of field.  There was a bit of a puzzle here; the foreground rock is sharp, suggesting the depth of field is not an issue, but the shutter speed used should be fast enough to freeze the hare.

Third: Tony Duffey, Wisbech, UK                

• Caddis Fly
• Crete. September 2022.
• Camera: Pentax K-S2 with Pentax-F 100m f2.8 macro lens
• Exposure 1/50sec at f4.5, ISO 200.

A clean simple image, beautifully sharp where it matters, with a lovely non-distracting background in a complementary colour.

Highly Commended:  Celia Sawyer, Long Compton, Warwickshire, UK

• Green Grasshopper
• Vercors, France. May, 2022.
• Camera: Apple iPhone 12 Pro at 4.2mm (115mm equiv)
• Exposure 1/3000sec at f1.6, ISO 50.

This image narrowly missed third place.  The judges very much enjoyed the story-telling, with both the grasshopper and the damage it has done clearly visible.  The bottom section of the image is the weakest; a square crop might have improved it.  Perhaps the highlights should be pulled down to damp down the brightest leaves slightly.

Highly Commended: Andy Scott

• Macroglossum stellatarum
• Picos de Europa, Spain, June 2021.
• Camera: Nikon D3200 with 18-55mm lens at 55mm (82mm equiv)
• Exposure 1/1600th sec at f5.6, ISO 400

Highly Commended: Roger Brownbridge, Harrogate, UK

• Mountain Apollo, Parnassius apollo,
• Murren, Switzerland: June 2022.
• Camera: Canon EOS 750D with EFS 18-135mm lens at 135mm
• Exposure 1/200sec at f11, ISO 400

Highly Commended: Bob Gibbons, Wimborne, Dorset, UK

• Young Alpine ibex, Capra ibex
• Swiss Alps: July 2022
• Camera: Nikon Z9 with Nikkor Z 100-400mm lens and 1.4x teleconverter, giving a focal length of 560mm
• Exposure 1/800 sec at f7.6, ISO 5000

The judges found the image of the baby idex charming, but felt the parent in the background was distracting.  For me that added to the story-telling, and I loved the colour palette and the detail in the meadow around the kid.

This class is for an alpine landscape.  It need not necessarily show specific plants but should concentrate on the scenic beauty and/or geology of the setting. You should be inspired by unusual natural beauty, from the small and intimate to the grand panorama. This class always attracts a great diversity of images, and it is one of the most interesting, and difficult, to judge.

First: Bob Gibbons, Wimborne, Dorset, UK

• Early spring snowfall on the mountains around the Col du Pourtalet, on the Spanish side, including Anayet.
• Pyrenees: April 2022
• Camera: Nikon D850 with 24-85mm lens at 52mm
• Exposure 1/1000 sec at f13, ISO 200.

The judges loved the light in this image, catching the wisps of cloud and the blowing snow, against the threatening skies.  Textures and the footprints in the snow provide intricate detail;  this photo perfectly communicates the cold and inhospitable nature of the scene.

Second: Ursula Junker, Olten, Switzerland.

• Lower Theodul glacier near the Gandegg hut, Zermatt, Valais, Switzerland, July 2022.
• Camera: Nikon D7500 with 10-20mm lens at 10mm (15mm equiv)
• Exposure 1/500sec at f11, ISO 100.

This landscape might have been just as cold, but was nowhere near as bleak, with summer sun glistening off the ice.  The judges loved the way the angled light captured the cracks and fissures in the ice, and the way the scree contained the retreating glacier within the image.

Third: Hilary Birks, Norway.

• Emli Valley, Turkey, April 2012.
• Camera: Pentax K110D with Pentax 18-55mm lens at 28mm (42mm equiv)
• Exposure 1/750sec at f8, ISO 200.

The composition of this image is lovely; the valley leads the eye through the picture to the cliffs in the distance.  One judge found this particularly evocative of a favourite site.  Perhaps a little of the blue sky could have been cropped, and there is a slight suggestion of a magenta colour cast, particularly on the distant snow in shadow.

Highly Commended: Roger Brownbridge, Harrogate, UK

• Tunnel Vision from the Eiger Trail looking towards Jungfrau: July 2022.
• Camera: Canon EOS 750D with EFS 18-135mm lens at 18mm
• Exposure 1/640sec at f11, ISO 400.

This path, with distant walkers ascending towards the Jungfrau, was also very evocative.  But the judges were divided about the use of the corrugated iron tunnel as a framing device, and in the end decided they would rather have an image taken from a few steps forward without the tunnel in frame.

Highly Commended: Harry Jans, AL Loenen, Netherlands

• Panorama from Gornergrat, 3070m, Zermatt, Valais, Switzerland
• August 2009.

This panorama was another landscape which divided the judges.  Some liked the human presence on the far right, on a viewing platform looking out over the glacier, and felt it reflected the eye back into the picture; others found it anathema, and wanted a panorama of the glacier and the Matterhorn without the people.

Here we are looking for a quirky, amusing or unusual image featuring alpine plants. Digital manipulation is allowed; in fact anything goes, and we hope to see some wildly imaginative images.

This class always produces a wide variety of images, which makes it an entertaining break in the hours of debate by the judges.  This year was no exception, and the final short list included five very different images.

First: Hilary Birks, Norway

• ‘Christmas cactus troll’, Trysterix aphyllus
• Chile, November 2022
• Camera: Pentax K-70with Pentax 18-135mm lens at 60mm (90mm equiv)
• Exposure 1/160sec at f11, ISO 400.

In the end the judges selected this image as their winner.  It is a busy, cluttered image, but an exceptionally unusual and amusing one.  The red growths (flowers), and round berry ‘eyes’ are completely natural; Trysterix aphyllus is a mistletoe which grows within the body of the cactus, and then bursts out to produce these red flowers and fruits.

Second: Harry Jans, AL Loenen, Netherlands.

• water lenses on Pterygopappus lawrencei
• Crater Peak, 1270m, Cradle Mountain, Tasmania: January 2011.
• Camera Nikon D90 with 50mm f2.8lens (75mm equiv)
• Exposure 1/100sec at f5.6, ISO 200.

The rosettes of this cushion plant make an intricate pattern.  Here, water drops resting on them add an additional layer of interest and intrigue.

Third: Stepanka Haskovcova, Prague, Czech Republic

• Can I stroke you?
• Italy.  June, 2018.
• Camera: Panasonic DMC-FZ1000 with 9.1 – 146mm (25-400mm equiv) lens at 28mm (82mm equiv)
• Exposure 1/800sec at f3.7, ISO 125.

This image captures a charming alpine encounter – the connection and line of sight between the walker and the cow along a strong diagonal are powerful.  Perhaps the image could have been cropped a little more tightly on the top and left to align this diagonal with the corner to corner diagonal of the square crop, but the important thing was to catch the moment.

Highly Commended: Ursula Junker, Olten, Switzerland

• Empetrum nigrum, frosted
• Hvalfjörður, Iceland, April 2022.
• Camera: Nikon D850 with 24-120mm lens at 120mm
• Exposure 1/80sec at f22, ISO 640.

Highly Commended: Gail Harland, Norfolk, UK

• Papaver somniferum, germinating seed pods.
• Own garden: April 2022.
• Camera: Canon Powershot SX60 HS with 3.8 – 247.0 mm lens (equiv: 21 – 1365 mm) at 21.5mm
• Exposure 1/800sec at f5.0, ISO 160

This class is intended to celebrate the visual spectacle and impact that alpine plants can create.  We want to see spectacular panoramas of flowers, whether a carpet of a single species or a tapestry of different plants, colours and shapes.

The entries this year could be divided into two groups – wide views of massed flowers, and more intimate meadow close-ups.  Both fulfil the brief for the class, and it seemed appropriate that the first two images exemplified the two groups.

In practice, the judges seemed to prefer views of mixed species over the visual assault that can result from a massed single species and single colour.

First: Janet Hails, Worcester, UK

• Meadow, Crete, April 2014
• Camera: Pentax K-5 with 35mm f2.8 macro lens
• Exposure 1/80sec at f22, ISO 320.

What a glorious evocation of spring in the Mediterranean !  An evenly mixed tapestry of flowers, with trees and the sea as a backdrop.  The sense of place is exceptional, and in the end the judges chose this as the best image overall.

Second: Karen Gregory, London, UK

• Flowery landscape, Sella Pass, Dolomites, July 2017
• Camera: Nikon D3300 with 18-140mm lens at 140mm (210mm equiv)
• Exposure 1/640sec at f10, ISO 200.

By contrast, this is an up-close, intimate view, mixing the yellow of Hieracium with clover and blue hairbells.  Another great image, and very close to first place.

Third: Harry Jans, AL Loenen, Netherlands

• alpine meadow in the Dolomites
• near Refugio Tondi, 2270m, Cortina d’Ampezzo, Italy: July 2015.
• Camera Nikon D90 with 18-270mm lens at 25mm (37mm equiv)
• Exposure 1/80sec at f25, ISO 200.

Again, the sea of flowers in mixed colours has a lot of appeal.  The moody mountains in the distance make an excellent backdrop, but are separated from the foreground by a white limestone chipping path, which is the main weakness of the image.

Highly Commended: Janet Hails, Worcester, UK

• Hyacinthoides non-scripta
• UK, April 2018
• Camera: Pentax K-5 with Pentax D 100mm f2.8 macro lens
• Exposure 1/125sec at f18, ISO 1600.

This bluebell wood came very close to the prize places.  Although aware that the strident green and blue was probably an accurate rendition of the scene in spring sunshine, the judges felt that perhaps the image would be more appealing with the saturation turned down fractionally.

Highly Commended: Ursula Junker, Olten, Switzerland.

• Anemone narcissiflora
• Sunnbüel, Bernese Oberland, Switzerland, June 2022.
• Camera: Nikon D7500 with 10-20mm lens at 10mm (15mm equiv)
• Exposure 1/125sec at f22, ISO 400.

Highly Commended: Cedrik Haskovec, Prague, Czech Republic

• Lilium bulbiferum in the Dolomites.
• Gardena Pass, Italy. July 2014.
• Camera: Olympus E-M5 with Olympus M 12-50mm lens at 15mm (30mm equiv).
• Exposure: 1/80^th sec at f20: ISO 1600.

This last image was very evocative for me, after my trip to the Dolomites last year.  I know exactly where this meadow is below the Gardena Pass; we walked along a path which traversed the slope in the distance, below the screes.

Thanks again to the judges, and of course all the exhibitors.  We hope this will inspire you to get outdoors and start taking photos for this year’s competition.