I read an article recently in the Royal Photographic Society of Great Britain’s Magazine and I wanted to rush out and give it to all our judges. I just found it so interesting and I learned a lot from it.
I have taken some of the salient points from it, and I hope by sharing it, it will also be a great learning for many other judges as well as an understanding about judging photographs.
The author of the article was Ken Holland from England and he opens the article by saying “My first entry into a camera club competition was a slide of the Red Arrows in full flight. The judge’s comment was “I’m not really interested in aeroplanes. Next slide please” It was after that I started to take a keen interest in photographic judging”
He has since then been asked to run a series of seminars for new judges. He did a lot of research on it, did some myriad checklists in use by American camera clubs and found almost nothing on the subject had been published. From this his series that he uses for his seminars grew into a book “Looking at Photographs” and it is from this book that the extract on his article was taken.
How to judge
When presented with a set of photographs, look at all of them briefly, and perhaps note your initial reaction. Then look again in some detail. Ask yourself basic questions about them: consider the message of each photograph, its technical competence and presentation. We all know that in South Africa the time restraints put on us as judges, this is not always possible.
Also if there is time to compare them, this of course can be done when judging prints but not with projected images unfortunately until of course when it comes to selecting a final winner in each category or overall.
Once you have made your decision, it is as well to stick with it. While it may be tempting to look at the pictures again and change your mind, photography is often (but certainly not always) about initial impact. If this was sufficient for you to decide to award a picture the winning place, it is unlikely that you will change your decision later.
What to look for
In general terms, what to look for in a picture is one of the most difficult things for a judge, but it is what lies at the heart of judging. How does a judge compare, say, a good landscape with a good portrait, and decide which is best?
Very simply: any photograph conveys information. A Judge’s job is to decide how well that information has been conveyed. The effectiveness of a photograph depends on the eye of the photographer, and the skill they have employed in its production.
Although a photograph may be technically perfect, it can be quite dull if the subject matter or approach is boring. A judge could look for the sort of photograph which has impact because it is out of the ordinary, and is something that many people would not notice in everyday life.
What’s it all about?
A photograph is really about three main things: the subject, its purpose, and its interpretation.
The principal subject of a picture should be clearly defined and draw the viewer in. If it is unclear, or if it is in conflict with other dominant parts of the picture, or if there are several main subjects scattered about the picture, then a picture may lose some of its message. A simple picture is usually more successful than a complicated one.
The purpose of the photograph is all-important. A judge should decide whether the photographer has achieved this purpose. Ultimately, this is where a judge decides on the relative merits of two very different, but possibly very good photographs.
The interpretation of a subject is very personal. The photographer decides on the interpretation by using a variety of methods: lens choice, viewpoint, recording medium, lighting, shutter speed, printing, format and so on.
A judge must decide on whether the interpretation does the subject justice, and enhances the picture. Don’t say how you would have taken the picture: everyone has their own approach.
Each of these three ingredients contributes to a complete photograph. They can be combined in a variety of ways, and it would be impossible to define the optimum balance, as each photograph might require a different approach.
Photographic seeing
However when making a decision about the relative success or failure of a photograph, a judge could consider the following aspects and perhaps comment on them when presenting :
Choice of format. Does the particular subject benefit from a landscape or portrait format?
Exposure Although we all have our own thoughts about what looks natural, there is no such thing as “correct” exposure. A photographer may have deliberately gone for an approach that is either dark or light, or high or low in contrast : the judge must try to decide whether it enhances the image.
Placing of the subject within the image Again, there is no correct place, but some are more successful than others. Often, a centrally placed subject place on the “intersection of thirds” seems more acceptable. Don’t expect every photograph to abide by the “rule of thirds”, though, as a judge, you must decide whether the arrangement suits the subject.
Depth of field The area of a photograph that is in sharp focus affects its impact. Some subjects require a great deal to be in focus; others might require just the main subject to be in focus, with the background thrown out of focus to add depth. In general, every photograph needs some part of it to be kept in focus, but there are exceptions to this.
Psychological links and contrasts. This involves the subject, and the use of “photographic seeing” For instance: a clown and a nun picture together would provide an interesting contrast, and inevitably create impact. Two people looking at each other would provide a psychological, but not physical, link.
Visual contrast Again, this will provide impact; perhaps a bright red tractor in a green field, or a smooth glass bowl against rough wood. This is often more difficult to achieve in black and white than in colour.
Eye scan This is the way in which the eye is encouraged to “read” the picture. Is it easy for the viewer?
A whole picture is not necessarily a sum of its parts. Try not to dissect a picture into small pieces. You could apply these thoughts to any photograph: “Why was this image made?” and “What is the photographer trying to show me?” Try to get into the mind of the photographer.
Making your comments in public
The way in which you present your comments is vital; you whole approach and attitude can make a tremendous difference, his advice was :
- Give the appearance that you have enjoyed judging the photographs, it reassures the audience, even those members whose work has not been received too successfully!
- Be confident in everything that you do. In this way, you will appear to be sure of your decisions.
- Try not to fall into the trap of describing the picture when the audience can see it for themselves, as this wastes time.
- Don’t lecture: you will have only a certain amount of time to discuss each picture.
- Be totally honest. After all, you have been invited to judge these pictures, which applies that your opinion counts for something, and that it is respected. Be bold enough to say what you think: the audience will usually respect you for it.
- Don’t attempt to say how a picture has been taken; you can often get it wrong, invite an explanation from the photographer later.
- Try not to let yourself become prejudiced by what you have seen before. Often a judge may comment that they have seen a similar picture, and that somehow it makes the present one seem inferior. Few images are ever truly original, and a successful picture will always be successful, even if it has been done 1000 times before.
- Remember it is a competition, and therefore the best or strongest image, in your opinion, is the winner! 10 judges given the same task may come up with different winners. All you can do is give your own opinion.
- Talk about a picture as though you were a “critical friend” of the photographer.
- Keep an open mind. You may have very strong feelings about many aspects of photography. Judging a competition is not an arena for you to present them in.
- Above all, speak with modesty and humility.
Photographic interpretation
It is extremely difficult to teach photographic interpretation: it can really only be encouraged. As a judge, you will be doing your bit to encourage good photography. Your comments about the technical aspects will be virtually without dispute and are easily explained. Therefore, your comments about technique may be more forthright than comments on subject matter, creativity, and whether you are attracted to the image.
If you cannot appreciate another photographer’s work, don’t assume it is their fault. It just may be that you have missed the point of the photograph, and all judges may be guilty of this.
Keep you words kind and encourage a positive approach, never be scathing or negative. Keep your comments in perspective. You are addressing a friendly camera club, so keep your approach friendly, humorous and lighthearted.
Treat others’ work with respect, photography is something we all enjoy, and to take it too seriously may not be helpful. Keep the emphasis on praise: judging should be evaluative, not critical.
These were the thoughts of Ken Holland ARPS, they are not hard and fast rules. Judging photographs will never be an exact science and that is good. This for me was extremely thought provoking and I learned a lot as a judge. Thank you Ken, I have sent him a message through Facebook and I will buy his book when in the UK in February. Check out www.lowenna.co.uk.
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