Opinion BEFORE THE JUDGE
9
Rikki O’Neill FRPS Each issue, a respected judge or exhibition selector shares their thoughts and experiences with us. This month, we put Rikki O’Neill, chair of the Visual Arts Associateship and Fellowship panels, through his paces
Words by Rikki O’Neill FRPS
MEETTHE JUDGE Rikki O’Neill FRPS : Rikki is an artist by profession and a highly respected creative and award-winning image maker. He has been on the Royal Photographic Society’s Visual Arts Associateship and Fellowship panels for the past 11 years and is now their chair. He is also on the Roll of Honour of the Scottish Photographic Federation, a Fellow of the Irish Photographic Federation, a Master of the Photographic Alliance of Great Britain and member of The London Salon.
I have judged extensively at club level and selected at most UK international salons as well as judging abroad in Ireland, Holland and Malta. Taking up photography is not just about your own images, it’s about looking and learning, and what better way to learn than by looking! I love looking at images. Club judging can be very satisfying assuming that you give the right advice. But judges can be totally ensconced in their own type of photography and lack the ability to see the good in others. This can have a very negative effect on many club members, especially beginners. It’s not unheard of for a new club member to feel humiliated and leave, due to remarks passed by a judge. Standards of club competitions can vary greatly. Many of the experienced members who are regular salon exhibitors are continually producing high standards of imagery, but there is still a tendency for the majority of club work to be of a very ordinary standard. However, on the whole the overall standard of club photography is improving all the time. In live club judging it is always challenging to be positive and constructive. As a judge we have to remember this is a person’s image, they have spent their time taking it and it may be their pride and joy. If you don’t give positive and constructive criticism, it can have a devastating effect. No matter how bad an image is there is always something positive to be said about it. I would have to say that I love all judging but I really enjoy salon judging. There is so much goes into salons. There can be terrific camaraderie, not just between the judges but also all the organising team – there is a wonderful social aspect to it all. You can see the high standard of amateur photography in the UK by looking at the quality of images entered into national and international salons. Many of the top awards are given to UK participants. In the photographic sense judging should be bifocal. The ability to see a good image and give the appropriate mark has often not happened just because it wasn’t the judge’s own type of photography. I know this is controversial but unfortunately it is true – it’s an issue. You can often be excited by images that have the ‘wow’ factor and there are always fantastic images submitted, but I do wonder about the submitted images that are so bad visually and technically you wonder why the author bothered to enter. Unfortunately, images can fail for many different reasons. No impact, poor composition, bad lighting, no creativity, no centre of interest, poor colour balance, unsuitable subject matter and not telling a story – any one of these can go against an image. I would probably say images without impact and showing poor technique are probably the two biggest failings.
Home club Dundee Photographic Society. I’m president. Howmany years have you been in photography? 33 What is your favourite camera? I’ve always loved the Olympus as my film camera but am now a Canon lover as regards digital. I also use the iPad. I could not be without my iPad or a compact – image quality these days is so good you can almost eliminate carrying larger, heavier cameras around. Certainly for my type of photography I can get away with it. What awards have youwon? Too many to keep track off but my very first medal, a gold at Solihull in the 1980s, along with being given the chair of the RPS Visual Art Distinctions panel, are highlights. What is your favourite photo accessory?
Who is your favourite
photographer? I love Alexander Jansson because of his art and photography together. He takes imagery to another level visually and to me is a great inspiration. See www. alexanderjansson.com. What is your favourite lens? Give me a wide-angle lens every time. What is your favourite photographic subject or technique? Creating images that step out of the box, images that break the expected photographic rules. I just love being told an image is not a photograph, especially when all the elements are there. Being asked what drugs I am on proves that although the images might not be what is expected, they do create a reaction.
I have no real pet hates but I do get fed up seeing formulaic images that continually do well and, understandably, this only encourages others to create similar work because of their success. The organising of group trips has created the ‘holes in the ground tripod shot’ and because of this we see a series of almost identical images. Photographers should be taking in the knowledge, but also creating their own images. It is likely in a judging session that after seeing similar images several times over, the next one, even if it works on all levels, could still be marked down. Different skills are required to take a good photo and to recognise a good photo. Not everyone has these skills, including judges, and having both is rare. As a judge you have to have a broad perception and understanding of all types of images. However no matter what a judge’s choice, it is always going to be subjective and those who enter just have to take on board that there are winners and losers. I always tell fellow club members not to worry too much about club judges; take on board the constructive points, don’t worry about your mark; another judge would probably see it differently. To be successful in contests and salons you have to understand the requirements of entry. You also need to know your equipment, whether it is your camera, the computer or the software. In software, plug-ins are often a great way to help enhance your image but only when understood and applied for positive effect. You also need to be aware of the latest photographic trends, so look at images no matter where they are: books, magazines, TV, galleries, websites and the accepted images at salons.
ABOVE Rikki O’Neill’s creation, His Own Little World.
Different skills are required to take a good photo and to recognise a good photo. Having both skills is rare
π To see more of Rikki O’Neill’s work, go to www.rikoart.com.
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Issue 3 | Photography News
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