Strange Light

Amateur Photographer of the Year Penny Halsall talks to Oliver Atwell about what it takes to come out on top.

- Oliver Atwell

Were there any rounds in this year’s APOY that you found harder than others? Without a doubt it was street photography (round 7). I’m someone who tends to plan images, whereas I believe successful street photography is an art in itself. It relies on the talent to combine a story with great composition and lighting, and being in the right place at the right time. Wildlife photography poses similar restrictions. So any round where I couldn’t plan my image I found hard. Thankfully there was no sports round this year.

Do you have a favourite image that you entered?

My favourite is nearly always the last image I took. Despite what I just said, I’m rather fond of my street-photography image (see page 32). I’ve photographed this local hangout a few times, as it is somewhat of an oasis at night. All the other buildings around it are dark, and this Chinese takeaway is always bright, emanating wonderful smells of garlic, sweet-and-sour chicken and chips. I wanted to get the light trails from the traffic for movement and life, and give the feeling of warmth and sanctuary.

The macro entry (round 5), which was my seven-year-old wedding bouquet (see page 32), is also a favourite as I love the subtle colour and texture. I found the bouquet while clearing out a cupboard. It brought to mind the old Dutch oil paintings that depict flowers and bowls of fruit, but also suggest decay and the fragility of life and its symbolism.

Another favourite is my entry for the black & white round (round 8), the beach at Spey Bay (see page 32). I love puddles as they reflect the sky, and give you a sense of infinity where the reflection is the whole sky and beyond. It is also wild and windswept, and I am always searching for dramatic and atmospheric locations.