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  1. MEMBERS' PORTFOLIOS

022 Phil Blakely

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  • SHADOWS IN THE LIGHT by PHIL BLAKELY

    SHADOWS IN THE LIGHT by PHIL BLAKELY

    GRADE - HONOURS A very simple image yet very well captured. It works. This image is well balanced and a strong image. All I would do is increase the contrast somewhat. Use of black and white really works here as this is a play of light and dark. Colour probably would distract here. A case of less is more.

  • EAT ME by PHIL BLAKELY

    EAT ME by PHIL BLAKELY

    GRADE - ACCEPTANCE Another well framed image. I would apply the following adjustments: (highlights -60-65%, shadows +60-65%)

  • COLOUR BURST by PHIL BLAKELY

    COLOUR BURST by PHIL BLAKELY

    GRADE - HONOURS This image made me smile. The absolute joy on the boys face has been captured well. The use of a narrow depth of field had separated the subject from the background while still leaving us knowing that this was in an event with others around. These type of images can be very challenging and you have done well getting this photojournalism image. I especially like the paint dust being lit behind the boy which adds to the action. I feel this would do well in the national PJ comp run in July.

  • SUCCULENT by PHIL BLAKELY

    SUCCULENT by PHIL BLAKELY

    GRADE ACCEPTED Great colour contrast of the green/red. You have gone in close and focused well onto the tiny hairs of the succulents petals. The addition of the dew drops adds another focal point to the image. The depth of field has been handled well. Nicely composed within the frame.

  • YOUR MOVE by PHIL BLAKELY

    YOUR MOVE by PHIL BLAKELY

    GRADE - MERIT An action shot of chess. There are some lovely mellow hues in the old trunk, and the chess pieces are well rendered in spite of their contrast. The only suggestion I have is to clone out the yellow cetre top and the bit of green alongside, because the yellow introduces an unnecessary colour and the to areas are distractiong, but good work.

  • FROZEN FENCE by PHIL BLAKELY

    FROZEN FENCE by PHIL BLAKELY

    GRADE - NOT ACCEPTED A good tonal range, but the idea is spoiled through lack of sharp focus on the post which, with its grain and position has to be the main focal point. As it stands, the left side has little to offer the viewer, and I suggest it would be improved by cropping 2/3rds of the wire and then flipping it horizontally so that the viewer is looking along the frosted wire to the post.

  • LAST LIGHT by PHIL BLAKELY

    LAST LIGHT by PHIL BLAKELY

    GRADE : MERIT Another good portrait. The background detail provides information suggesting perhaps the man loves his shed or perhaps that’s his working environment. Retaining the window has been achieved without over or under exposing that area. By retaining a small amount of light [rim light] at the rear of the head lifts the subject away from the background. I suggest cropping the lefthand edge of the image to the point where the widow frame is vertical. This would prevent the temptation for the viewer to following the light out of the picture. The highlight area at the rear of the man’s head could be toned down a little so that they do not become a distract.

  • LAST LIGHT ON THE HAWKDUNS by PHIL BLAKELY

    LAST LIGHT ON THE HAWKDUNS by PHIL BLAKELY

    GRADE : MERIT I like the letterbox presentation of this image. The fences act as something of a leading line taking the viewer into the image; first to the shed and left to the little red figure and on to the distant shed. The warm evening light on the distant hills is pleasing as it are the snowy peaks. Again I feel this image, particularly with this title, would benefit from a little more darkening to the sky to reflect the finality of a setting sun.

  • PSYCHEDELIC by PHIL BLAKELY

    PSYCHEDELIC by PHIL BLAKELY

    GRADE : ACCEPTANCE The idea of movement is provided by the bright swirling colours but the subject is quite static. The grey on the bottom is a bit of a distraction and the yellow spoils the impact of the reds and blues . The sharpest area is his shoulder but ideally the sharpness would be on the photographer’s face and camera. It is an interesting idea which is worth experimenting with further.

  • PARRALLEL LINES by PHIL BLAKELY

    PARRALLEL LINES by PHIL BLAKELY

    GRADE : HONOURS A simple composition with the yellow lines taking us into the distance where there is a vehicle on the road to provide a focal point. The brightness of the foreground scene stands out well against the darker background. We liked the way the dark texture of the clouds adds subtle interest to the sky.

  • CRANE DUO by PHIL BLAKELY

    CRANE DUO by PHIL BLAKELY

    GRADE : ACCEPTANCE

  • AUTUMNS PATH by PHI BLAKELY

    AUTUMNS PATH by PHI BLAKELY

    GRADE : HONOURS

  • FLY FISHING LAKE MOSQUITO by PHIL BLAKELY

    FLY FISHING LAKE MOSQUITO by PHIL BLAKELY

    GRADE: MERIT What a lovely memorable shot of friends enjoying a relaxing day together doing something they all obviously enjoy. While it’s great to have that memory of the location, this is a well constructed portrait image which I’d like to view closer. The slightly oblique angle of the boat and each individual is really good. I’d suggest taking down the highlights and up the shadow a tad.

  • POSING IN BUENOS AIRES by PHIL BLAKELY

    POSING IN BUENOS AIRES by PHIL BLAKELY

    GRADE: MERIT Party colours, vibrant and alluring with an interesting angle. I would have been keen to see more of this young lady and a step to the left would have achieved that. I know timing is crucial and perhaps she moved shortly after that.

  • READY TO RACE By PHILL BLAKELY GRADE; HONOURS

    READY TO RACE By PHILL BLAKELY GRADE; HONOURS

    A great character study. Lighting and focus are well handled, and the monochrome presentation help a lot. But once again, some cropping would help - a bit off the roof, and a little off the right not only remove distracting material, but moves the face from the centre of the frame.

  • NEW WHEELS By PHIL BLAKELY GRADE; HONOURS

    NEW WHEELS By PHIL BLAKELY GRADE; HONOURS

    FASCINATING INTERPRETATION OF A INTERESTING SUBJECT, I LOVE THE USE OF THE NEW RIMS, IT CONTRASTS WELL

  • FROM TIMES GONE BY By PHIL BLAKELY GRADE ; NOT ACCEPTED

    FROM TIMES GONE BY By PHIL BLAKELY GRADE ; NOT ACCEPTED

    The overall softness of this image might be the result of the choice of a very shallow depth of field with the focus area around the wordings of this item. Try pulling out some details from the dark shadow areas if you think it might help someone appreciate this machinery better.

  • BENDIGO By PHIL BLAKELY GRADE; ACCEPTED

    BENDIGO By PHIL BLAKELY GRADE; ACCEPTED

    This image’s subject is beautifully lit with a strong dramatic background. The choice of B&W is also effective. However, not quite sure why the leg is included at the bottom right hand corner of the image. Do try removing the leg in post process to compare if it might make this into a stronger image.

  • TWINS By PHIL BLAKELY, GRADE ACCEPTED

    TWINS By PHIL BLAKELY, GRADE ACCEPTED

    This is a graphical and well presented image with colour used well to give the image impact. Intriguing colours and shapes with some very interesting repetition. Sometimes it was a struggle to find a focal point and but then we found our eyes following this line across the seat of the bikes to end on the colourful body of the bike. There are some interesting reflections in the shiny parts of the bike to explore as well. Unfortunately the foreground is out of focus and that is what is right in front of you. Try taking this image with a smaller aperture maybe f11 and increasing the ISO if it is necessary to increase the shutter speed so you can hand hold.

  • PATTERNS IN QUEENSTOWN GARDENS By PHIL BLAKELY GRADE;  ACCEPTANCE

    PATTERNS IN QUEENSTOWN GARDENS By PHIL BLAKELY GRADE; ACCEPTANCE

    This image is more about the interesting textures on the wall, tree trunk and stonework than about the repetition of an element. However we decided that there was enough idea of patterns along with the graphic image for us to accept it. We did struggle a bit with the diagonal cut off across the top right of the image because this strong line did not appear anywhere else in the image.

  • QUEENSTOWN GARDENS  BY PHIL BLAKELY

    QUEENSTOWN GARDENS BY PHIL BLAKELY

    SECOND EQUAL

  • DOORS MOROCCO By PHIL BLAKELY GRADE: ACCEPTED

    DOORS MOROCCO By PHIL BLAKELY GRADE: ACCEPTED

    Another tri panel presentation with very pleasing warm past colours. Apart from that, the unity is ruffled by aspects of each subject. The human interest in the central study is very strong and would be helped by the toning down of the highlight tones of the left and right compositions.

  • CW1026 By PHIL BLAKEY GRADE: MERIT

    CW1026 By PHIL BLAKEY GRADE: MERIT

    A competent posterization. Well exposed, crisp and appropriate colour choices. Economical composition limited to the more interesting components.

  • THE LOUVRE by PHIL BLAKELY; Grade: Merit

    THE LOUVRE by PHIL BLAKELY; Grade: Merit

    Technically well done and a good idea to keep moving in. I particularly enjoy the bottom one in which you have timed that sweep from the Eiffel tower to perfection. However, it would have been stronger with the vertical of the building straightened. The edge of the building in the middle one is a distraction and could be cropped. The top one is very nice and to my mind the strongest.

  • TWO GIRLS by PHIL BLAKELY; Grade: Acceptance

    TWO GIRLS by PHIL BLAKELY; Grade: Acceptance

    This has a lovely whimsical feeling. Very good use of shallow depth of field, especially in regard to the foreground, and nice soft colours add to the mood. The light grasses behind do rather drag the viewer away from the main subjects and could be darkened, and I would have preferred to see the the figures further to the right.

  • SANDS OF THE SAHARA by PHIL BLAKELY; Grade: Honours

    SANDS OF THE SAHARA by PHIL BLAKELY; Grade: Honours

    Love the simplicity, perfectly exposed, good use of the leading line left to right

  • THE CELEBRATION OF MARRIAGE by PHIL BLAKELY; Grade: Honours

    THE CELEBRATION OF MARRIAGE by PHIL BLAKELY; Grade: Honours

    Lovely shot of the wedding ring and glasses,slightly too tightly cropped with the left hand glass a bit too close to the edge. Good depth of field and the monochrome treatment works well

  • POOLBURN DAM by PHIL BLAKELY; Grade: Merit

    POOLBURN DAM by PHIL BLAKELY; Grade: Merit

    The author has seen some strong design elements in the curve of the dam contrasted against the rich blue waters, Unfortunately my eye jumps around the Image due to lots of details like the dark water stains and the wheel, try re-cropping for a cleaner Image

  • STRUTTING PAST EICHARDTS by PHIL BLAKELY; Grade: Merit

    STRUTTING PAST EICHARDTS by PHIL BLAKELY; Grade: Merit

    The timing is perfect with the placement of your subject, Id remove small details such as the 3 security lights and post in middle of door grill, subdue all greens to match each other and this has the potential to go to an honours.

  • ICE SWORD by PHIL BLAKELY; Grade: Accepted

    ICE SWORD by PHIL BLAKELY; Grade: Accepted

  • TWO ICE DOLPHINS IN LAKE MULLER by PHIL BLAKELY; Grade: Merit

    TWO ICE DOLPHINS IN LAKE MULLER by PHIL BLAKELY; Grade: Merit

  • "SAMS ROOF" by PHIL BLAKELY
 Field Trip Competition  June 2014 - Sam Summers hut walk

    "SAMS ROOF" by PHIL BLAKELY Field Trip Competition June 2014 - Sam Summers hut walk

  • MORROCAN TEA by PHIL BLAKELY; Grade: Not Accepted

    MORROCAN TEA by PHIL BLAKELY; Grade: Not Accepted

    This image is nicely exposed with good tonal range. However I find the composition rather baffling. I found that my eye was drawn to the cushion on the left middle of the picture because it is brighter in tone than the rest of the image. Also I find the point of view to be too low. TO me the subject is the tray and the objects on it not the couch. I suggest you should have taken this image then moved around and seen if you could improve the composition. With digital it doesn’t cost anything to take a shot unlike film, so experiment. Have a go at cropping this image and see if you can improve it. If nothing else it will be a good experiment. Not Accepted

  • WINTER WONDERLAND by PHIL BLAKELY; Grade: Not Accepted

    WINTER WONDERLAND by PHIL BLAKELY; Grade: Not Accepted

    The composition is good here, with the viewer being lead into the picture from the bottom right by the tyre tracks. At first I thought the image could be improved by flipping it so the tracks lead in from the bottom left, but I am not so sure. I would crop just a little off the bottom of the image. Also the tonal range needs to be played with here. The Blacks need to be blacker, but there is nothing in the whites and if printed they would just show as paper white. Ideally they should be toned down either one or two zones. (for those of you not familiar with the zone system, a zone is one stop of brightness, or the effect of opening up or closing down one stop on the aperture. So I suggest that the white should have between 100 and 200% less brightness so you can see some detail and there is a differentiation between it and the white of the paper.) This would give some detail to the texture of the snow. Again I suggest you go back and have a go at this on a computer. Also maybe Google the Zone System to find out more. Not Accepted

  • FROSTY FISIHING TRIP by PHIL BLAKELY; Grade: N/A

    FROSTY FISIHING TRIP by PHIL BLAKELY; Grade: N/A

    The focal point of this image and therefore where the sharpness is, should be the reel and handle of the rod but the sharpness in on the front edge of the drum. Try a smaller aperture to make the rod, reel and frost sharp or maybe focus on a different part of the image. The aperture you have chosen has thrown the background out of focus which allows the subject to stand out which is a good feature of your photo.

  • SHOTOVER RIVER BRIDGE by PHIL BLAKELY; Grade: Acceptance

    SHOTOVER RIVER BRIDGE by PHIL BLAKELY; Grade: Acceptance

    An interesting graphical photo of this bridge with the repeating patterns receding into the distance. You have captured a full range of tones but the image could still take a bit more ‘punch’. Try increasing the contrast to make more of the difference between the dark and light tones. This also helps the nearest support which is a little soft. The panorama crop works very well for this image.

  • DELICATE by PHIL BLAKELY; Grade: Merit

    DELICATE by PHIL BLAKELY; Grade: Merit

    Lovely subtle image, great composition and well thought through. Not much to say really and a very good merit.

  • "EARLY MORNING WATERSKIER" by PHIL BLAKELY; Grade: A
Great Action - the diagonal of the skier and rope add even more movement - unfortunately, the bow-wave and foreground water are rather washed out - I do like how the wave and skier form a perfect vee.

    "EARLY MORNING WATERSKIER" by PHIL BLAKELY; Grade: A Great Action - the diagonal of the skier and rope add even more movement - unfortunately, the bow-wave and foreground water are rather washed out - I do like how the wave and skier form a perfect vee.

  • "EARLY MORNING PAPATOWAI" by PHIL BLAKELY; Grade: A
Gentle image with terrific colour harmony - the marker is strongly placed on a third and the headland adds interest - I'd like a crop off top and bottom to make it a panorama.

    "EARLY MORNING PAPATOWAI" by PHIL BLAKELY; Grade: A Gentle image with terrific colour harmony - the marker is strongly placed on a third and the headland adds interest - I'd like a crop off top and bottom to make it a panorama.

  • "SLOPESTYLE BIKER" by PHIL BLAKELY
 Field Trip Competition  April 2014 - Queenstown Bike Festival Slopestyle Event

    "SLOPESTYLE BIKER" by PHIL BLAKELY Field Trip Competition April 2014 - Queenstown Bike Festival Slopestyle Event

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

  • Photo by Phil Blakely

    Photo by Phil Blakely

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