Photography News 11

Opinion

BEFORE THE JUDGE BobMoore FRPS Each issue, a respected judge or exhibition selector shares their thoughts and experiences. This month, Bob Moore shares his views – over 40 years after falling into judging

MEET THE JUDGE BobMooreHon. FRPS, Hon.PAGB, MPAGB, FIPF, FBIPP: Bob confesses to being an obsessive photographer; he’s been taking photos for more than five decades and he’s still exercising his trigger finger. He’s spent the Home club: Arden Photo Group Years in photography: Over 50 Favourite camera: Nikon D800 Favourite lens: 24-120mmNikon zoom Favourite photo accessory: Photo rucksack Favourite subjects: Travel and people Favourite photographers: Major influences: Bill Carden Hon. FRPS, Joan Wakelin Hon. FRPS, Alan Millward FRPS Awardswon: Over 300 medals in national and international exhibitions. RPS Fenton medal Website: www.bobmoore.co.uk last four decades judging, sharing his experience and knowledge.

Words by Bob Moore

I was a young photographer in a camera club and I was doing reasonably well getting acceptances in exhibitions and I was just asked to judge, so I’ve been doing it now since the late 1960s. I was put on the Midland Counties Photographic Federation’s main list of judges. I remember the first exhibition I ever judged was the Bristol Salon of Photography. I got involved with judging really through lecturing and running workshops, which in my late twenties I was sponsored to do by Praktica. I’ve always been a pretty obsessive photographer. The key to being successful is not about knowledge of your equipment, it’s just having the drive to succeed and produce good pictures. I still exhibit in national and international exhibitions. When my acceptances finally dry up, that’s the time I’ll give up judging. The three major international print exhibitions in the UK are the Edinburgh International Exhibition of Photography, the Southampton International and the Smethwick Photographic Society International Exhibition. Get regular acceptances in these three and you’ve made it. A number of national exhibitions are at the forefront of UK photography; take a look at www.britishphotographicexhibitions.org.uk for more details. The Cotswold Salon is one of my personal favourites, it’s an excellent exhibition devoted to monochrome prints. I don’t mind passing my knowledge onto other people through judging and I feel like I should give something back. Sometimes you’re flattered when you’re invited to judge because people want to know your opinion. The nicest thing of all is to judge the major exhibitions but the hardest part is standing up in front of an audience when the images aren’t very good and making something of them. When you’re faced with a bad image, you’ve just got to be honest and as tactful as possible – I’m probably not known for being very tactful. If it’s good I’ll say so, if it’s not I’ll try and help. You’ve got to be optimistic rather than pessimistic. You’ve got to see the good sides of any image, it’s very easy to be condemning. Judging at club level is all about being fair and honest. It’s about trying to convey the excitement of photography without dimming the authors’ enthusiasm and creativity, giving valued comments in an articulate and informed manner. Judging at club level in the beginners’ section is the most important aspect of the job we do. These are the photographers of tomorrow and it’s where judging and judges can have the most influence. The beginners need our help and advice and

encouragement to make sure they don’t throw in the competition towel. I think we have to be very careful, but it’s not easy, especially when you’re slightly outspoken. As a judge, it’s important to be aware of current trends and fashions as well as the traditions of photography. It’s essential to visit the major exhibitions and to enter UK and international exhibitions to see what other photographers are producing. Many judges are only too pleased to comment and criticise images when they themselves are unable to produce photographs of a high standard. I think I owe it to the authors of the photographs I judge to be in touch with current standards, trends and fashions, even if I do not particularly like them. Judges need to be aware of what’s going on in contemporary photography and the best way to do that is to enter and support the major UK international and national exhibitions. We won’t get it right every time but we owe it to entrants to at least make the effort. Judging is like a roller coaster ride, you can be judging a small club competition one night when the members are mainly beginners. The next day you can be on a panel of three selecting a major UK international exhibition. The excitement lies in seeing new and fresh work. So what should our judging criteria be? Should we judge on whether we like an image or not? Of course not. That’s too simplistic and allows our own interests and values to take over. Surely we should judge on the basis of ‘is it good of its type’. Does the image convey mood, atmosphere, tell a story, part of a life cycle and emotion? Does the image work? I would much rather judge prints than PDIs because with a print you can examine it and get involved. Print quality is an important criteria but not

the be-all and end-all. I would rather see an exciting fresh picture, which could be printed better, than a super duper quality snap of nothing in particular. I focus on content 70 per cent and quality 30 per cent, give or take a little. With current digital printing technology it’s pretty easy to get reasonable quality. To achieve exceptionally high print quality though requires skill, time and experience. Judges should be aware of the many digital techniques available and not be overwhelmed with clever images that have no emotional content. In fact, emotional content should be a high priority in image making. It’s very easy to become proficient in the ways of Photoshop whilst forgetting that storytelling can be a vital part of a photograph. Photoshop is a wonderful tool for photographers and the mass of plug-ins available is overwhelming. Press a button for this and that without any control or skill and the effect you can achieve is staggering. Judges also need to be aware of the techniques and what can be achieved by simple computer button pushing. Better still, teach yourselves the techniques of photography so you can confidentially comment on manipulated techniques. Judges need to be well organised and sometimes extremely tolerant. They also need a built-in clock. If the club chairman says finish at 9.45pm. Do yourself a favour and finish at 9.40pm no matter how many entries there are. Just cut back the comments. You may think your comments are important, most of the audience do not, they just want you to finish on time so they can get to the pub before closing time. Never ever, and I repeat, never run over your allotted time. That is unprofessional and unforgivable. To be a good, competent judge, the most important thing is to be a compassionate, dedicated and successful photographer.

You’ve got to be optimistic rather thanpessimistic. You’ve got to see the good sides of any image, it’s very easy to be condemning

Photography News | Issue 11