Photography News issue 22

Photography News Issue 22 absolutephoto.com

Profile

Before the Judge David Penprase Each issue, a respected judge or exhibition selector shares their thoughts and experiences. This month, we hear from photo veteran David Penprase

Biography

Words by David Penprase FRPS

DavidPenprase David’s work has appeared in every major photography magazine and he is decorated with awards for his photography. He has recently completed three books to raise money for charity, but his latest foray in the e-book world is Developing a Photographic Style in the Photowise series for RHE Media Photography Ltd. Home club The London Salon; to be fair, it’s not my home club I have none. Favourite camera Fujifilm GX680 Favourite lens 210mm Favourite photographers Jan Saudek, Albert Watson, Joel- Peter Witkin, Nick Knight and dozens more! Favourite subjects Portraiture, figurative, landscape, still life, abstract, manipulated,

I bought my first 35mm camera at the age of 40 – that’s 33 years ago – and joined my local club at Redruth. At the time it was renowned for monochrome workers; I learnt a great deal. I soon moved to medium- format in an effort to slow down to a more considered approach; initially using a trusty Mamiya RB67, then my Fujifilm GX680 with its 210mm lens. I also use a Wista 5x4 and Type 55 posi/neg film which I love. It’s now sadly unavailable but I still have a fair stock. Monochrome has always beenmy thing, I started entering my work in photographic salons, and was fortunate to win a number of awards including Best Mono in the Austrian Super Circuit in 1997 and again in 1999; the Kodak B&W awards for fashion in Fashion and Advertising in 1998. Five gold medals in The London Salon resulted in being invited to join in 1998. The same year I became a panel member for the RPS Distinctions in Photographic Printing and I am currently chair of the Applied Panel. My interest in becoming a judge grew from a frustration of many photographers being obsessed with technique. Let me make it clear there has to be good practice as with any medium, but photography has moved on. Years ago, I recall giving first place to a 5x7 print mounted on thin card against mainly large prints including some 20x16 Cibachromes,

I could feel the surprise in the room, but as I said then look at the content! With the advent of autofocus and multi-metered digital cameras, anyone can produce a sharp, well- exposed image. So, if you asked me what the most common failings are, I’d say there’s a mindset that looks no farther than print quality. This was fine 20 years ago but with digital capture it’s a given and images should be more about content. I do my best to instil that in my opinion, images should affect the viewer emotionally. The other area that often offends is when a good image is overworked to the extent that the techniques override the visual impact. It’s about knowing when to stop. I enjoy critiquing work but I’m aware that we’re all close to our work and criticism can appear harsh when it’s not intended. I’m sure most judges look for the good points first. There’s the odd occasion when one’s lost for words, but there are giveaway signs in the work that convey it’s someone just starting or sadly a long-time practitioner that may never get up to standard. Remember that it’s their image and one they felt worthy to enter. With that in mind, advise quietly. The other joy about seeing work, especially a body of work in the form of a RPS Fellowship Distinction application, is that once in a while I see some outstanding work that

surreal, impressionistic etc. anything that’s done well!

blows me away. Opinions differ, which is why there are five panel judges and myself with the RPS. I would say we always reach the correct decision in the end. If I gave advice for competition work, it’d be to learn your craft, only photograph subjects that excite you, produce quality work, and try like mad to surprise the viewer! Many judges are pleased to share their knowledge with clubs, but remember they have to put food on the table. If I may take this opportunity to use a dirty word: money. How many judges or lecturers have heard ‘do we owe you any expenses?’ Lecturers work for years at enormous expense to produce a body of work to entertain and educate an audience. In my case giving a talk in London means coming up from Cornwall, using

two working days I could have been earning on. Why will club members pay a plumber/electrician the going rate but it stops there? With most clubs there’s a feeling that lecturers can afford to show theirwork for expenses. Yes, there’s a sense of achievement and fulfilment in doing so but club members will pay a great deal for their kit, go to the cinema and the pub, but ask them to put in £5-10 to help pay the speaker, and learn about their passion, and there’s a problem! This doesn’t apply to all, and for some people clubs are more social than photographic, but one would hope the nucleus would understand the huge benefits if they saw a greater cross section of speakers and judges.

If you asked me what the most common failings are, I’d say there’s a mindset that looks no farther than print quality

To find out more, go to David Penprase's website dp.talktalk.net.

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.