How do you like them tomatoes?

On Photo Contests and Exhibits

Over the weekend, I had the privilege of judging a juried photo show at a small regional art center. I was fortunate to judge with two other photographers who were not exactly like me, and our individual differences made our choices more balanced and well considered for the participants and more reflective of the various types of photography within our area. 

We viewed two hundred entries with the understanding that the physical capacity of the gallery was one hundred photos. Each of the judges viewed every photo multiple times individually and finally collectively as we attempted to choose the final ten. Our task was made easier by competent supporting people at the art center who made sure we understood the system, answered all questions, and provided spreadsheets and completed all calculations for our individual scores. They never tried to influence the judging and worked exclusively to support us in the decisions we made. I learned a good deal from the experience that will stick with me as both a person and as a photographer.

This week I want to share just a few simple thoughts that may help a fellow photographer as they consider entering a photo into a contest or photo exhibit. I always enjoyed Letterman's humor and his use of top ten lists, so I borrowed his format but will not promise ten items.

Selecting Your Photo

1.  Select a photo that will appeal to a broad audience. Viewers may not read your emotional attachment to your photo, so provide enough context to identify your subject or clarify your message. While you may photograph subjects for your own satisfaction, exhibits require you to photograph for a broad audience

2. Photos that feature the interplay of light and shadow strongly or softly have a better chance of connecting with the audience (who will be non-photographers and fellow photographers). Your use of shadow and light giving dimension to a flat medium is more important than saturated colors and slider mania in post-processing.

3. Prepare your print well in advance of the submission date so you leave time to make any needed adjustments. Sometimes the photo you see in print has color, brightness, or other issues differing from what you recalled on your home screen. Photo flaws sometimes can be easier seen in printed form rather than digital form.

Selecting a Substrate, Mat and Frame

4.  Your selection of a mat and frame should complement your photo, which is the star of the show. As a judge, the primary focus is the photo, but a poorly cut mat or the placement of the photo within the mat can change how your photo looks to the viewer. If you use a colored mat, select a color that makes your photo stand out for the viewer. 

5.  The frame, be it elaborate or simple, is nothing more than a border for your photo and a structure to hang it on the wall. The physical size of an image can complement or distract from the overall impact of the photo, but bigger and fancier frames alone won't make an average image look better. However, keep the framed image clean from dust and any debris between the glass and print.

6.  I've seen many great photos ruined by poor choice of a substrate. This is a problem that I have witnessed in nearly every show I have attended. I think people fall in love with the novelty of the substrate on which the photo is printed while forgetting the importance of the image. Remember to select a substrate (canvas, glass, metallic paper, etc.) that enhances the photo's best features (details, tones, and colors) of your photo.

At The Exhibition 

Stop, look, and listen!

7.  Stopping and Looking         At the last photo show that I entered as an exhibitor, I took the time to look carefully at each photo and try to put aside my biases to fully see what other photographers found important to exhibit. I look for a photo's overall impact and then try to define those elements that make it so by temporarily putting aside any criticism. I note the different types of photography displayed, finding that its variety is telling for future shows I may enter, and it provides clues to what kinds of photos within the show may seem underrepresented. New subject matter and creative perspectives help me shape my future photography and stimulate risk-taking.

8.  Listen to the Comments      During the show, I may stand discreetly in proximity of my photos and listen for unsolicited and spontaneous comments from viewers to other viewers. This unfiltered feedback is raw and informative. All performers and artists require a mix of detachment and vulnerability if they hope to succeed. It is extremely gratifying to overhear others discuss those same elements/clues you thoughtfully placed within your photo. Likewise, it is good to know when you miss the mark.

Being both a judge and an exhibitor in a photo show is a worthwhile experience. My preference is a show that emphasizes curation over competition. I would never be one to suggest that judges are purely objective no matter how hard they try to be. That is why I appreciated having two other skilled photographers to make decisions with me. Our collective knowledge of photography conventions and photographic experience provided a useful framework to consider each entry. It is also important to understand that every exhibit or contest has a framework in which it is designed. The trick to judging is to produce a show that aligns the exhibit's theoretical structure and the individual artist contributions to meet both the interests of the artist and the sponsoring organization.