Photography News 13

Opinion

BEFORE THE JUDGE Ray Spence FRPS Each issue, a respected judge or exhibition selector shares their thoughts and experiences. This month, Ray Spence, a well-known face on the circuit, tells us how it is

MEET THE JUDGE Ray Spence FRPS: Ray lives in Warwick and was introduced to photography by a friend whilst studying for a microbiology degree in 1970.

Words by Ray Spence

I am a self-taught photographer and learnt my trade whilst a student at a London university and subsequently at Solihull Photographic Society. I then went on to lecture in photography at colleges and universities. I had a commercial studio in Birmingham and have continued to produce personal work on several themes whilst working as a commercial photographer and lecturer. I have also written for several photographic magazines and published photographic books with my friend and co-author Tony Worobiec. I was mainly a black & white film/darkroom worker, but found the new challenge of digital an inspiration. However for many years I’ve worked with alternative processes and am now working with large-format wooden cameras and the wet plate collodion process. In the mid seventies when I joined Solihull Photographic Society it had some amazing photographers, which greatly improved my understanding of what makes a good photograph and the standards required to be accepted in exhibitions. I then joined the Royal Photographic Society and went through the ranks of the distinctions, finally ending up with a Fellowship in Pictorial Photography. I was also a teacher, so it came naturally to me to want to give something back to photography and hopefully help and inspire others by becoming a judge. I was flattered that people would think that I was good enough to make judgement on their work. Initially it was a bit daunting having to assess images in front of the authors, but I always tried to be positive. I became a PAGB judge and did the ‘circuit’ and enjoyed the experience for some years. I think a good judge should provide an unbiased opinion and be able to express things that the author of the work was unaware of. Positive criticism is always helpful. I prefer to think that rather than ‘judging’ I am ‘selecting’ work that fits the exhibition criteria. A good judge should be able to recognise quality work in any genre, whether they like the work or not. They should be open-minded and be aware of both the history of photography and current movements. They should also be able to articulate their opinions clearly and concisely. Judging for me is all about seeing new and inspiring work. I like to encourage and see the positives in someone’s work; to offer advice to those that need improving and praise the work which shows the highest level of seeing and creativity; to understand why a photograph has been taken and assess whether it has communicated the author’s vision to the viewer. I speak directly to an audience if at a club. If it is an international, I listen to the comments of the other selectors, particularly for the awards, and try to make a balanced decision. I enjoy seeing new and inspirational work. When I come away from an exhibition wanting to make new images myself, I know why I got involved in the process in the first place. Also, it gives me

Home club: Until recently a member of Arena Years in photography: 44

Favourite camera: The one I am currently using, my Nikon D700 Favourite lens: I am currently photographing R & B bands in pubs and clubs and am using a Nikkor 14-24mm f/2.8 G lens. Favourite photographers: Too many! John Blakemore, Joan Fontcuberta, Joel- Peter Witkin, Tim Flach, Josef Sudek, André Kertész, Brian Griffin – to name just a few. Favourite photographic subjects: Natural forms, still life and the body Awardswon: Gold, silver and bronze medals at the RPS International Print Exhibition, RPS Fenton Medal, Kodak Photographic Book of the Year

Agood judge should be able to recognise qualitywork in any genre, whether they like thework or not

the opportunity to meet new people who are as passionate about photography as myself, and make lasting friendships. I could do without travelling long distances in a car after work in the winter, but fortunately as I’m now retired that is no longer so much of an issue. Unfortunately some clubs – the minority – see the judge/lecturer as a cheap form of entertainment. If I’m travelling to some village hall in the middle of nowhere I expect the club to be organised and welcoming. I also detest marking! I can give my opinion on what I consider to be the ‘best’ photographs and explain why, but I don’t want to give a number. I know that in internationals, this is the only way, but that is really to make the shortlist. I prefer exhibitions that move away from the stereotype and clichéd images. Usually the more rules and categories an exhibition has, the poorer it tends to be. I’ve been lucky enough to be a selector for the RPS International Print Exhibition several times and for me it is one of the most interesting exhibitions around. I am also one of the selectors for the International Garden Photographer of the Year. As a biologist and keen gardener, this interests me.

It is difficult to say how I think judging could be improved, but including selectors from a variety of backgrounds and ages allows a greater range of work to be seen. This is the approach of the RPS International Print Exhibition and it works very well. Being a judge has taught me how to look at work with a critical eye. To assess whether an image communicates effectively and to be critical of my own work.

π To find out more about Ray’s work, go to www.rayspence.co.uk.

Have you seen a photographic judge at work that 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. What do you think?

Photography News | Issue 13