The Bermuda Society of Arts is celebrating 55 years as an organisation, and as such, it is the oldest in Bermuda.

When I think back to all those who were involved in the arts in Bermuda at that time, I am impressed with the high artistic standards the membership then had. I am also distressed that today, many of those artists are now almost unknown and unremembered.

Since then, however, the Society's history has been one of some successes but also difficulties. It has had its up and downs, but the present quality of exhibitions is such, I think we are currently in one of the Island's most successful artistic periods.

Not only are the artistic standards high, the exhibitions are also much more diverse. It also seems that there is much greater involvement in the arts by a lot of younger artists and this is healthy. Despite the lack of dealer galleries in our community, the arts are flourishing and the BSoA plays a vital role in providing a venue for exhibitions.

The present exhibition at the Bermuda Society of Arts, is the Members Photographic Show and, at the risk of sounding like a cracked record, the show is also of a high over-all standard.

Of course, some photos stand out and these are the one I will be stressing in my review.

Member's shows are difficult to write about, as there is usually a lot to work to consider, as well as large number of participants, so giving consideration to everyone is almost impossible.

Given that we live in the age of digital photography, it is not surprising that most of the photographs in this show, are just that — digital photographs. And it does seem that if an individual has any sensitivity to composition, most, with digital photography, are able to create a good photograph with some degree of ease.

This is not a bad thing and probably pushes the professional photographer to attain even higher standards of workmanship.

Two of the more unusual works on exhibit, are photographs by Al Dounouk, which were created by means of what is called a digital halftone intaglio type. This process utilises a digital photograph that is then converted it into an intaglio plate which is then printed by means of an etching press.

The end result may look old-fashioned, nevertheless they are appealing. Additionally, they are unique in this exhibition. The artist has the choice of selecting different coloured inks, such as sepia. This colour enhances the effect of antiquity.

The two photographs are # 69, ' Bend in the Road', and #65, which is untitled.

Notable also is Jolene Bean's #46, 'Pile of Stones'. Although I am told that the subject was only about three inches high, the effect is one of monumentality. Additionally, the quality of the photograph, the sharpness of focus, its surface and the colour, all are impressive.

Looking at the photographs of Kim Carter, I was struck by the vast geographical distances she had to cover, to actually photograph what she is showing. Obviously, she had to visit such places as Nepal and Antarctica, and other places in between. 'One in a Million' shows the nesting ground of the Adelie penguins and the number of birds in the picture is countless.

'Reflections, NS' shows a weathered wood wall and its reflection in water. Over-all, the colours are limited to the warm greys of weathered wood, including its reflection. The photograph is impressive for its monochrome simplicity.

Good work does not have to be complex, indeed, the German writer Goethe suggested that "limitations bring out the master". The artist is this case is Gretchen Gurr. I also noticed her 'St. Mark's Church Reflections'. This work was also awarded a citation.

Kelvin Hastings-Smith also has a number of submissions in the show, but I was especially struck by #5 'Lashed Up'. This photo shows what appears to be two orange poles lashed together by a blue rope. The colours are complimentary, meaning that they are exact opposites from each other on the colour wheel. The variations in texture, such as the fibrous nature of the rope, against the roughness of the poles, give the work an added dimension.

Penny Hill's 'Stained Glass Banana Leaf' shows an almost abstract close-up view of a yellow banana leaf with the sun shining through it, so as to make it glow, hence the title, but impressive as the work is, it would be even better for being slightly sharper in focus.

'All Saints day' is magical. This is a picture of a grove of trees that is all aglow, because it is the one area in the picture that is in full sunlight. By contrast, the rest is fairly muted. This picture is the work of Earl Jones.

Kok Wan Lee's two photographs of silhouetted trees in Central Park are remarkable for the sharpness of focus of even the smallest details in these simple tree pictures. Although the photos are in colour, they are basically monochrome, in that the works consist of the black of the trees against the light of the sky.

Ian McDonald Smith's 'Venice' was selected to be "best in show". This is one of his well-known water reflection pictures, but in the end, they seem abstract. The sense of water, although not completely absent from the work, appears, nevertheless, more as colours and lines running randomly across the surface of the picture plane.

'Blue Abstract I & II' are by Alexandra Mosher. These are pictures of flat appearing areas in blue and white. I was asked what I thought the photos were of. My best guess was that the initial subject was probably a stained glass window and I hear that this is correct, but it could be most anything, even a section of a billboard or maybe even something in nature. The artist has a keen eye for abstract compositions.

Gillian Outerbridge is showing a series of details from dried palm leaves. The twisting and curving lines of the subject, caught my eye and I noticed that they were awarded a honourable mention, by the judges. I also noticed her catchy title 'Palm Reading Series'.

Amanda Pearman has an untitled but remarkable work in the exhibition. It shows a red squirrel fish in shallow water. The fish is seen through rippling waters. It too is an especially magical.

Amanda Temple, who has her own solo painting show in the Edinburgh Gallery, is also exhibiting a small selection of her photographs in the photo show. Three pictures of three leaves are placed on the wall in such a way as to be seen as a triptych. They are entitled 'Fall Foliage I, II & III'. Another large impressive photograph appears to be an abstract, although in actuality, it is a detail of a copper pot taken with a macro lens. It is entitled, simply, 'Copper Pot'.

The exhibition continues through December 12, 2007.