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October Monthly Critique: Clocks, Time Is on Our Side

There are few things in life more dependable than a clock. It may run fast, run slow, or stop altogether, but sooner or later somebody will notice and complain. For our October Monthly Critique, however, we are asking you to do something considerably more creative than simply photographing a clock and telling us what time it is. Our October challenge is Clocks, and our guest judge is Paul Speaker, APSA, PPSA, GPSA, M.Photog., M.Artist, Cr. Paul has given us a wonderfully open-ended assignment...

There are few things in life more dependable than a clock. It may run fast, run slow, or stop altogether, but sooner or later somebody will notice and complain. For our October Monthly Critique, however, we are asking you to do something considerably more creative than simply photographing a clock and telling us what time it is. Our October challenge is Clocks, and our guest judge is Paul Speaker, APSA, PPSA, GPSA, M.Photog., M.Artist, Cr. Paul has given us a wonderfully open-ended assignment with plenty of room for creativity. The Assignment Paul’s instructions are simple: “Any device outside the home that is public facing should be suitable.” In other words, look around your community. Public clocks are hiding in plain sight, patiently keeping time while the rest of us rush around ignoring them. Look at government buildings, public parks, university campuses, downtown streets, historic buildings, free-standing street clocks, and those wonderful clocks often found outside jewelry stores. But don't stop there. Think out of the box. Paul encourages us to add interesting elements to our images. The clock doesn't necessarily have to be the entire story. Consider the environment surrounding it, the people interacting with it, architecture, reflections, unusual perspectives, weather, light and shadow, or anything else that gives the image a stronger visual voice. And then there is an intriguing possibility: sundials. A sundial could provide a fascinating spin-off to the assignment by allowing the shadow itself to become the timekeeper. Capture the shadow and its relationship to the dial, and suddenly you aren't merely photographing a clock. You're photographing time itself. There is, however, one small matter of housekeeping. Watches, phones, laptops and tablets are excluded from this assignment. Apparently, Paul has decided that if your "clock" also receives text messages, plays movies and orders pizza, we've wandered a little too far from the assignment. But Here's the Important Part Paul has judged for us before, so many of us already know what to expect. And we should expect no less from ourselves. Paul has told us that he reviews the images in advance and prepares comments for the makers. When appropriate, he may even prepare Visual Feedback images to demonstrate how a particular adjustment might improve an image. That's a wonderful opportunity because we aren't simply being told whether an image works. We're being shown why something might work better. Paul also has several technical and presentation details he watches for in virtually every image. Before submitting, give your photograph a final inspection: 1. Sensor dust. Those little dark spots have a remarkable ability to appear precisely where we don't want them. Check the sky and other smooth areas carefully. 2. Is the horizon level? We may not notice it while taking the photograph, but a crooked horizon can announce itself the moment the image is displayed. 3. Watch your verticals. If your clock is part of an architectural subject, particularly when photographing upward, pay attention to strong vertical lines near the center of the image. Perspective distortion can turn an otherwise wonderful photograph into something that looks like the building is attempting to escape. 4. Monochrome means monochrome. If you choose to present your clock as a black-and-white or monochrome image, make sure it is genuinely monochromatic and contains a full range of tones. 5. Protect your highlights and shadows. Watch for areas that have become completely black with no detail or completely white with no information. Pure black blobs and paper-white highlights are rarely invited guests. 6. Be careful with the vignette. Paul isn't a fan of heavy, obvious dark vignettes. His philosophy is that a vignette should be felt, not seen. In other words, if the viewer notices your vignette before noticing your photograph, the vignette may have become the star of the show. Give Yourself the Same Examination These aren't merely Paul's judging criteria. They are excellent questions for all of us to ask before we click "Submit." The real challenge of a monthly critique isn't simply finding something that satisfies the assignment. It's finding something interesting, photographing it thoughtfully, and then taking the time to make sure the finished image represents our best effort. So before you send that photograph into the judging arena, give it one last look. Is the composition intentional? Is the exposure under control? Are the lines straight where they should be? Are the shadows holding detail? Are the highlights behaving themselves? Is the processing helping the photograph rather than announcing itself from across the room? And most importantly: Does the photograph say something beyond, "Here's a clock"? Because that's where this assignment gets interesting. We have been given a subject that everyone understands, yet there are thousands of ways to interpret it. A clock can represent history, architecture, community, movement, waiting, aging, permanence, change or simply the relentless march of time. So go looking. Look up. Look down. Look for reflections. Look for shadows. Look for unusual angles. Look for the clock nobody else notices. And perhaps most importantly, look for the photograph hiding inside the subject. Time is ticking. Fortunately, for October's challenge, we're finally putting it to good use. Meet the Judge: Paul Speaker Our October guest judge, Paul Speaker, brings an impressive lifetime of photographic experience to the challenge. Paul's interest in photography began during childhood in the Portland, Oregon area, when his photographic equipment consisted of roll film and a Box Brownie. Following active duty in the U.S. Navy, he attended Brooks Institute of Photography in Santa Barbara, graduating with a Bachelor’s Degree with a double major in Industrial Photography and Color Technology. His professional career included ten years as an industrial photographer and color printer with General Dynamics Corporation, followed by ten years with Lifetouch, where he photographed everything from classroom groups ranging from six to 600 students to dances, seniors and sporting events. Paul discovered Photoshop in 2000 and soon moved into professional retouching. Today he is semi-retired, accepting photographic assignments that interest him while continuing to provide Photoshop work for other photographers. His list of accomplishments is extensive. Paul is a Lifetime Member of the Professional Photographers of America, a Certified Professional Photographer, and has earned the Master of Photography, Photographic Craftsman and Master Artist degrees. He has also been recognized as a California Master Photographer and has received numerous photographic awards at the state and national levels. Paul has served in leadership positions with several photographic organizations, including the International Association of Panoramic Photographers, where he served as President, and the Photographic Society of America, where he has held several leadership and service positions. Within PSA, Paul has earned multiple levels of Recognition of Photographic Achievement and has received recognition for several successful portfolio submissions. In June 2024, Paul was elected President-elect and Treasurer of the International Association of Panoramic Photographers, with a return to the Presidential role slated for 2026. With that depth of experience behind the camera, in the darkroom, behind the computer and in photographic leadership, Paul brings something particularly valuable to our October challenge: an experienced eye combined with a willingness to explain what that eye sees. So let's give him something interesting to look at. The clock is running. Let’s make every exposure count. ⏱️

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Coastal California Photographers is a non-profit, professional & enthusiast Photography organization committed to advancing photographic excellence through education, inspiration, mentoring, and collaborative learning while maintaining the highest ethical practices and conduct standards. Coastal California Photographers is a proud affiliate of Professional Photographers of California (PPC), Professional Photographers of America (PPA), and Photographic Society of America (PSA). 

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