Photography News Issue 40

Photography News | Issue 40 | absolutephoto.com

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Profile

Before the judge David Steel Join us for our monthly chat with an experienced photographic judge. This time, it is the turn of David Steel, a judge and lecturer of the East Anglian Federation

I became a judge because I like looking at photographs anddeciding what works and what doesn’t. I also like working with people. It wasn’t long after joining Cambridge Camera Club that the then president and established judge, Peter Rice, suggested that I give judging a try. He mentored me by inviting me to his judging events where I noted his scores and compared them tomine. I learnt a lot from Peter. I’m now a Panel A judge for the East Anglian Federation (EAF) and much of my judging is internal or inter-club battles. I also select for club exhibitions and occasionally get invites to select at some of the major national open exhibitions. Judging is very rewarding. It’s a two-way thing – I impart my knowledge and discover new things in return. I like helping others with their photography and it keeps my mind sharp when critiquing my own work. The standard of photography has changed enormously over the years. Not just the quality of the work being produced but the creativity as well. Modern digital cameras, computers and printers have made it easier to produce quality images compared with the film days. However, the bar is being edged higher year after year particularly for some genres – natural history and photo art, for example. There was a dip in standards a few years ago when digital cameras became more affordable and many people joined camera clubs to learn about photography but those people are generally now well-up on the learning curve and are producing excellent work. If there is any issue, for me it is overprocessing, particularly with HDR. As in the art world, it is knowing when an image has been worked enough. It’s too easy to go beyond the point of improvement and into overcomplication or image degradation. The other thing, of course, is originality. I

Biography

David Steel David’s first camera was his

father’s Voigtlander Bessa 120 roll- film folding camera. It was also the camera he used to enter his first- ever photographic competition almost 45 years ago. Years in photography 45 years. I started as a teenager after buying a contact printing frame in a jumble sale. Home club I’ve been a member of Cambridge Camera Club for 23 years. Favourite camera My current one; an Olympus OM-D E-M1. It gives me the image quality I want in a compact body that suits street and travel photography. Favorite lens The Olympus M.Zuiko Digital ED 40-150mm f/2.8 Pro. Favourite photo accessory A Billingham canvas bag to carry my camera and lenses. I have four! Favourite photographer I like Robert Doisneau’s photojournalistic style and the humour he puts into photos. I also have a penchant for Sebastião Salgado and Elliott Erwitt. What is your own favourite photographic subject or technique? Photojournalism and travel photography are my favourites. Photojournalism captures a ‘slice of life’ in much the same way as Picture Post used to many years ago. It’s something we don’t see too much of on the camera club circuit perhaps because what we see today is deemed as ‘ordinary’, but by not taking or keeping these images we are denying future generations a glimpse of today. Today’s photographers should be recording tomorrow’s history. What awards/distinctions/ medals have youwon? My greatest success is a FIAP silver medal for an image that was rejected at the next exhibition it was entered in!

don’t mind seeing the same subject matter but I would like to see a different interpretation; replicating somebody else’s award-winning work doesn’t cut it for me. I want to see originality and innovation. Sometimes I am lost for words and have to ask myself ‘what am I looking at?’. This usually applies to an image that is abstract in nature, and sometimes the title doesn’t help at all. It is like the close-up of a household object – when the penny drops, all becomes obvious. Part of judging an image is assessing how well the author has interpreted the subject matter. If the subject is non- obvious this goes out the window. As my mentor, Peter Rice, used to say, ‘don’t confuse the judge!’. Speaking of judges, of course there are good judges and there are not-so-good judges in the same way there are good and not-so- good photographers. Some judges

miss things when put on the spot, some have a limited vocabulary and some don’t develop a rapport with the audience. It’s like learning to drive; you become good with practice and experience. Judges give up their time to judge and select for exhibitions and some travel great distances to do it. It’s only too easy to sit in the audience and criticise. I’m sure all federations would love more quality judges on the circuit but people need to put their names forward and give it a try. Many never go beyond a workshop because they realise it’s harder than they thought. Variability of judging is what makes it so interesting. Only once have I had a serious disagreement on a judging panel. A really great image was in line for an award but one of the panel objected to the subject matter. I didn’t care myself for the cruel sport being depicted but I appreciated how the emotion of the moment was captured and handled. It showed great skill and understanding from the photographer. This applies equally to war photography; war and suffering are terrible but I have great respect for photographers who capture images that show an otherwise ignorant world what is happening. After discussion, the image was given an award. I never consciously mark down a subject matter because it is something I have seen before or doesn’t appeal to me. I ask myself, ‘is this a good image of its type?’. If it is, it gets a good mark. Sometimes images are so well executed that it’s difficult to critique them. This

is where I have fun by maintaining a poker face and not showing any enthusiasm, knowing inside that it’s likely my top image in that event. I like keeping an element of suspense until the final moment. Therearenorulesinphotography, only guidelines. Guidelines make it easyforthenovicetocreateavisually acceptable image. Even images from the top photographers will often follow some formulae whether that be the rule of thirds, the golden ratio, triangulation, etc. Sometimes it’s possible to deliberately go against these guidelines and create tension in an image. These tend to be high- risk images that move from general appeal into a more subjective zone that is personal to each viewer. I dislike the idea of promoting imaging trends as the way to get acceptances. The amateur photography scene is quite inward- looking and needs new and refreshing ideas. Don’t be a trend- follower, be a trendsetter. However, if somebody needs to know what is currently gaining acceptances, the best way is to see exhibitions or at least try to procure exhibition catalogues to see what the standard is like. My final bit of advice is don’t give up. Getting to the top in anything needs determination and perseverance. Don’t be put off by what judges say. Seek opinions from others and follow your own path. Don’t produce work just to please the judge because you will never please all the judges all the time.

What do you think?

Have you seen a photographic judge at work who you’d like to see profiled in Photography News ? If so please drop us a line to opinion@photography-news. co.uk with the judge’s name and, if possible, their contact details.

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