Awarded Photographs from the Exhibit
	Awarded $150 Transition by Saikat Chakraborty  There is much to enjoy in this wonderful interpretation of a landscape view by Saikat Chakraborty aptly titled Transition. It’s clearly autumn with the color changing on the trees in the middle foreground. The vegetation adapts to the elevation: the pond/swamp area of the foreground, to the mixed deciduous and pine trees in the middle foreground, to the majority of pines in the middle background and finally the modified alpine vegetation of the background. And finally, this may be a transition of weather with just a slice of sunshine peeking out of the clouds to illuminate a portion of the mountain signaling the possibility of a storm on the horizon. Saikat also employs many compositional elements: Look at the number of triangles created by the mountain, hills and trees, the peak of the mountain is just off center enough to create tension, the higher trees to the right and left help to frame the image and assist as leading lines up the sides of the mountain. Additionally, Saikat uses the light in a judicious manner. Often, we view autumnal photos during the brightest of days with a high saturation of colors. Yet, Saikat uses a subdued pallet and the colors of the trees are an appetizer to the main course, which as if he is a portraitist, Saiket employs to use of the sunlight through the clouds to highlight the mountain.
	Awarded $150 The Walk Home by Stephen Graham A dark street with a saturation of color and wonderful tones. Seemingly sharp and soft at the same time and lit well, the man sitting next to a white helmet on a brightly decorated bench and a red moped seems to be the subject of the image. On the left edge of the frame, partially cut off is a blurry female image. Yet, photographer Stephen Graham titles his work The Walk Home. Say, what? Upon further examination, the lettering on the sign appears to be from a Southeast Asian country and from the sewing machine on the flag, it’s perhaps a seamstress or tailor shop. In addition, the man has what looks like folded cloth on his lap. But, then even more questions arise . . .  What is really going on? Does the moped and helmet belong to him? Has he just exited the establishment of getting ready to enter? Or, is he just a passerby, who happens to be resting on the bench? Do the people know each other? What is each of them thinking? Is this social commentary about #MeToo? How did the two people happen to be in this place at the same time as the photographer, who caught the action as precisely the right time? What was the photographer doing there? How many other questions might you have about the photo? If one of the objectives of photography is to have people spend some time looking at and thinking about your work, Stephen has certainly accomplished that with The Walk Home.
People's Choice Award
	Awarded $150 Lumiere Photo Gift Certificate Can of Worms by Nikhil Nagane When I first glanced at this image, I thought it reminded me of the quick glances we saw of the monsters in the old Alien movies of a contorted body with a large head and many tentacles to ensnare their prey. The more I looked, it began to make sense to me. But, I still had to ask Nikhil about the process he used. Nikhil explained to me that this is a "360˚ panorama with an inverted stereographic projection.” Well, now I had to check out google. . . Remember back in grade school when we looked at a flat map of the world and Greenland was larger than Africa? That is a type of map called a Mercator projection. What Nikhil did was the reverse. He took a flat image and created the image of a sphere. Picture yourself on Rt. 490, heading west into the city from East Rochester and you just passed the Rt. 590 Exit heading to Irondequoit. (The road to the right that looks like a ‘Y’ is that exit.) That is approximately the position of Nikhil’s drone hovering above Rt. 490. He then maneuvered the drone to turn a full circle while taking a series of images. Back at his computer, Nikhil used an application to stitch those images together. Next, he took the two ends of the panorama that was created and connected them (actually, the application did, but you get the idea.) The blob in the middle is the sky. Considered another way – follow Rt. 490 (the main 6-lane highway that is pointing at the city – the higher buildings just left and below of center). The sun is setting to the left. With your mind’s eye go to the top of the photo and make a cut that will allow you to take the two pieces and bring them down 90˚ so that it is flat. So, if you’re still with me, what I’ve described is the technical process. As important, if not more, is the creative process. Why am I creating this? With a p 360˚ panorama, the photographer decides where the center point is. What elements of composition will I consider – rule of thirds, leading lines, color, b&w, subject, mood, lighting . . . ? What can I do to create an image that the viewer will spend some time with? What was the first thing that caught your eye? What element of composition do you think was the most important on that Nikhil used?
Partners' Pick In addition to the photographs chosen for awards in the juried The Magic of Light, Gallery Partners have chosen another "Pick" from the exhibit of Guest Photographer Michael Lempert
	Heaven Sent - Montserrat by Michael Lempert The amazing Montserrat mountain-top monastery in Catalonia Spain is the setting for this wonderful photograph.  It is an amazing place, accessible by a cable car and the site of pilgrimages of the faithful. There is a strong composition, with the viewer looking at the photo and having their eyes move to the valley below. Michael has contrasted the harsh granite block over the dramatic mountains valley below with the soft, beautiful flowing portrait of the woman in the polka-dot dress.  The wind blows her hair and dress, arms outstretched as if she is flying in the breeze, all the while the granite blocks sit unmoved by the gentle breezes. Excellent photographs allow the viewer to create stories about the subjects.  Here one can imagine many different scenarios about the woman, why she is there, how she is reacting to the scenery, as her face is not seen, etc. etc.