What do you give a man who has done everything? An Interview.

Bill Hurter started out in photography in 1972 in Washington, DC, where he was a news photographer. He even covered the political scene, including the Watergate hearings. After graduating with a BA in literature from American University in 1972, he completed training at the Brooks Institute of Photography in 1975.

Going on to work at Petersen's PhotoGraphic magazine, he held practically every job except art director. He has been the owner of his own creative agency, shot stock, and worked assignments (including two and a half years with the L.A. Dodgers). He has been directly involved in photography for the last thirty five years and has seen the revolution in technology. In 1988, Bill was awarded an honorary Masters of Science degree from the Brooks Institute.

In 2007 he was awarded an honorary Masters of Fine Arts degree from Brooks. He has written more than 35 instructional books for professional photographers and is currently the editor of Rangefinder and AfterCapture magazines.

How long have you been picking up a camera?

I didn’t pick up a camera until junior year in college. I got hooked right away and took four classes with Washington Star-News picture editor, Don Moore, who suggested I pursue it further professionally. He helped me land a job with a small news agency in Washington, D.C., Reni Newsphotos, where I held U.S. Senate and White House press cards six weeks after landing the job.

Did you always know that you wanted to be a photographer?

No, not at all. Not until I was almost 20 years old. I wanted to be the great American author… Ernest Hemingway. Oh, well.

What is your speciality as a photographer?

I started out as a photojournalist, but enjoyed the structure of portraiture. After two years as a journo, I went back to school, Brooks Institute of Photography in Santa Barbara, CA and majored in Portraiture. It was the absolute right thing to do for me.

When you’re not shooting for clients, what kind of images do you like to shoot?

I like to shoot graphic images and images that have inherent stories. I was an English major in college and enjoyed all aspects of the narrative. When I got into photography, I thought the narrative element should be a part of every picture I took.



You have been an international judge for many years now, how did you first get into judging?

I first started judging here at WPPI, when they didn’t have enough judges to fill a panel. So I would sit in. I realized I knew enough from picture editing for the magazines (Rangefinder and AfterCapture) to be a pretty discerning judge.

Do you think there are extra considerations to be made when entering an International versus Local competition?

Absolutely. One has to discount a lot of one’s own cultural preferences in favor of a more open-minded approach to the images. This is especially true of wedding photography, where customs and rituals are different in every country around the globe.

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

Well, personally I don’t enter contests any more, but I think competitors should not rely on winning or losing for self-justification. It has always been my philosophy that one should enter print competitions to learn and as a quality check, to see how your work stacks up against your peers’ work.

What are the first 3 things you look at in your images when you enter a competition?

Trick question, isn’t it? Impact, impact, and impact. No, seriously, impact. An image has to, in some way, take your breath away. Surprise you or enlighten you. Aside from all the technical details being in tow, the image has to bring you to a higher intellectual or spiritual level by virtue of its existence.

What advice would you offer photographers entering a competition for the first time?

Roll the dice and see how you do. It’s not life or death, it’s a print competition. Your self worth as a person or a photographer is not at stake. But you can learn a hell of a lot from entering. Sometimes all of us are in a bubble of our own making and we need a reality check, usually provided by discerning print judges.

You can find out more about Bill at http://billhurter.com/ or http://billhurter.wordpress.com/

Entries to The 2010 International Aperture Awards close on 15th October.

Pixel Purity + Nikon D3S + Redrock Micro = Awesome!

As part of the lead up to the release of Pixel Purity, Dan and I are spending the week capturing a series of interviews with some fantastic well established Melbourne photographers across a range of specialty fields.

Kayell Australia have loaded us up with some amazing gear to do the shoots. Check out some of the behind the scene shots of us playing with the equipment and testing it all out in my kitchen last night.



It was a simple setup with a couple of old 500 watt tungsten lamps I had in the office. We used one to flood the background, and used a defuser  on our key light. Simple is best!



We were blown away by the quality of the output we got from the Nikon D3S on live capture video mode.  We had alot of fun setting up the shoot and playing with the gear.

The Gear list

1 x Nikon D3S with 28 - 70 2.8 lens

1 x Redrock Micro DSLR eyeSpy Deluxe

2 x 500 watt tungstan lamps

1 x Lastolight 1.2 x 2m collapsable background

1 x Lastolight triangular defuser / reflector

2 x Manfroto tripods

1 x Senheiser shotgun mic

1 x 4 channel powered audio mixer



Nikon D3s

12.1MP, Continuos Shooting up to 9FPS, HD Video Capture up to 24fps HD Video, Low Noise ISO Sensitivity 200-12,800, Dual CF Card Slots, Accurate 51, Point AF System, 3" LCD Monitor

Red Rock Micro eyeSpy Deluxe

The eyeSpy line of DSLR rigs are ideal for any filmmaker who wants a shoulder-mounted ergonomic support system for their DSLR. The eyeSpy Deluxe Bundle builds on the Standard Bundle by adding the combined convenience of counterbalance weights for a perfectly balanced system, and a follow focus for pulling accurate focus.

Lastolite Skylite Scrim

Medium Premium Kit 1.1m x 2m includes: 1.1m x 2.0m Frame, Sunfire / White Reflector, 1.25 Stop Translucnet Diffuser, Grip head, Handle, Bag

7" LCD Monitor

A portable high resolution 1.2 Mega pixels LCD monitor, offering HDMI and Composite video which is a perfect solution for HDMI output cameras, as well as DSLR. It has a strong and lightweight magnesium alloy shell, and easy to mount on top of camera as an additional viewing source.

Here's a sample of our shoot.

Tenacity, Passion and Self Belief...Catherine Hall talks about what drives her as a photographer.

Award-winning editorial photographer Catherine Hall is a masterful visual storyteller, powered by boundless energy, creative artistry, and a gift for connecting with others. With assignments as diverse as corporate/ industrial shoots, fine art portraiture, and fashion-lifestyle work, Catherine nimbly serves the needs of her broad-based clientele. Her projects to date have taken her to 30 countries within North, Central, and South America; Europe; Asia; and the Trans-Pacific.

Catherine's flair for building trust and connecting easily with subjects is prized by clients, as is her passion for perfection, easygoing nature, and out-of-the-box artistry.

While she gives her all for each and every frame she shoots, checking backgrounds, flattering angles, lighting, depth of field, and composition. She achieves her most dramatic results when she follows her heart and gut.

Catherine's award-winning images have been exhibited in galleries in Paris, New York City, the San Francisco Bay area, and Lestans, Italy, near Venice. Her work is featured regularly in prestigious publications, among them The New York Times, Sydney Morning Herald, San Francisco Chronicle, and National Geographic Traveler.

How long have you been picking up a camera?

I enrolled in my first photography class, a course offered by my high school arts department, when I was sixteen-years-old. The first image I ever shot and developed was a close-up of a horse’s marble-black eye, with several green farm flies buzzing within the frame in soft focus. At the time, I thought I was a renegade! Looking back, I blush at my naiveté.

Once, for an open house event, my instructor offered me the opportunity to curate a small exhibition of my own work—my first-ever solo show! At the event that night, I overheard a parent ask my instructor what he thought of my photography. “She’s gifted, but she’ll never make it as a professional,” he said. My reaction? I’ll show you, I thought.

And, ultimately, I did.

Did you always know that you wanted to be a photographer?

As a teenager, I always had an inkling that I might become a professional photographer. I didn’t realize it was possible, though, until I dove headlong intro transforming my passion into a commercially-viable undertaking. Negotiating that first commission requires courage—you have to believe in your gifts enough to place a worth value on them.

At the end of the day, photography is a labor of love for me. I’ve heard people say that they could never transform their passion into their business, as it would ruin their joy for the art form. I don’t find that to be true. I only fall more and more in love with every day that I spend honing my craft and growing my business. I wake up every morning excited to do what I love.

What is your specialty as a photographer?

I’m attracted to complex, diverse imagery. My editorial work exhibits an inclination towards a dark beauty. My professional wedding photography allows me to find psychological and aesthetic balance in sensual, wrapping light and the female form. It allows me to document the extreme fantasies of beauty.

When you’re not shooting for clients, what kind of images do you like to shoot?

To date, my photography has taken me to over 30 countries. Photography gives me the impetus—indeed, the license—that I need to immerse myself in another culture, learn through experience, and forge relationships I wouldn’t otherwise be able to.

You have been an international judge for many years now, how did you first get into judging?

Interestingly, it wasn’t my original intention to be a judge! At the beginning of my career as a professional photographer, I chose to be very proactive about entering a lot of competitions, as I desired to bring exposure to my artwork. This played a significant role in carving out my name in the industry, and my role as a judge came as a natural extension of that.



Do you think there are extra considerations to be made when entering an international versus local competition?

I am less concerned about the scope of a competition then the style. It’s important to educate yourself about the parameters and expectations of entrants. What is the contest about? Is it conservative? Do they prefer traditional lighting or are they open to experimental lighting? Do they prefer daring editorial photos or textbook, conservative photographs? The most important aspect of entering a competition is to gear your entries toward your audience.

It's been said many times that entering a competition is more than just winning. What do you take away from a competition when you enter?

Participating in the Aperture Awards competition has been particularly influential for me as a photographer. Typically, contest judges make their decisions behind closed doors, without offering feedback after the winner is determined. One of the great things about the Aperture competition is that the judges have the option to comment.

Several years ago, two Aperture Award judges provided me with commentary about one of my entries, explaining that while my image was wonderfully composed, the lighting was flat. These judges are respected photography professionals, to whom I looked up. While I already intuitively knew that my images were flat, the message finally hit home when coming from the judges.

Learning why I hadn’t won proved even better than winning—it challenged me to begin exploring lighting techniques that have transformed my images for the better. It’s not winning that matters; in the end, the point of life is personal growth.



What are the first three things you look at in images when you judging a competition?

When judging, for me the three most important components of an image are - the lighting, composition, and expression. It’s something technical and, at the same time, something psychologically gripping.

What advice would you offer photographers entering a competition for the first time?

Seek feedback from others—family, friends, and, most importantly, colleagues and peers who are also photographers. Don’t just enter what you think is good, because all artists are biased about their work. And it’s crucial to listen. Often, it can make all the difference to let go and trust the insights of others.

You can find out more about Catherine at http://www.catherinehall.net or http://twitter.com/catherine_hall

Entries to The 2010 International Aperture Awards close on 15th October.

Is your photography website a lame duck?

A question I am asked more and more often is “Why doesn't my website get any traffic?” A simple question with a complex answer.

In the online world or Interweb as my grandmother calls it, the phrase

“If you build it they will come.” is wrong. What it should be is

“If you build it, market it and keep it fresh they will come.”

This article could be applied to any website. But inline with the fact that we work almost exclusively with photographers in developing websites and competitions, I am going to write a series of articles on how to take control of your photographic website, understand why you're not getting traffic and give you some practical tips and information to get it moving again and turn it into the marketing tool is was most likely designed to be.

Where to start, where to start?

The first thing I usually ask when developing a site for someone is “Why are you here?  Who sent you?  Are you from the government?”

Once I get my paranoia out of the way I ask “What is it, you want this site to do?”

Now the answer to this question gives me a good idea on the direction the site needs to take and the framework it will need to support it.

"I want my site to showcase my amazing photography."

"I'm not sure, my friend told me that I must have a website. So here I am."

"I want a way to interact with my clients."

"I want a blog, they look cool and I want to share my thoughts and knowledge."

"I want an online gallery where I can sell my images."

If I build a blog style website for someone who wants to sell their images online I'm going to have an unhappy camper.

But further to that the clients going to have a website that they will push into the too hard basket because it doesn't do what they want it to do.

Ok now's the point where you pause and think about your site.

Does it do what you want it to do? Is it hard to use? When was the last time you looked at it? Do you know how many hits you get?

If the only reason you have a website is so that you have something to put on the bottom of your business card or a reason to get excited when you Google your own name (Don't pretend you haven't. We all have at least once.) you should probably stop reading now.

For the rest of us here is some basic information on where traffic comes from for the average under performing website.

Google Search 65%

Returning Visitors / Direct Traffic 15%

Referral Traffic  10%

Other Search Engines 10%

As you can see getting your site indexed and optimised correctly for Google is one of the biggest factors that will affect the success of your website.

Your now thinking yeah it's all well and good to say I need to be optimised for Google, BUT I'm no webhead! I cant spell html! And I don't go by the online name of Lovemachine768.

An easy way to gauge how well your website has been setup is to go to Google and type in your name or the name of your business.

Are you on the first page of results? Are you in the top 5 results. How much is the top spot on Google actually worth?

According to data from the Chitika network, it’s worth a ton – double the traffic of the #2 spot, to be precise.



Reference: http://chitika.com/research/2010/the-value-of-google-result-positioning/

So how does Google work out your ranking? Your ranking is calculated based on a number of factors but the major ones to pay attention to are;

Meta Data or Meta Tags

I know your thinking “Speak english man! “

Meta Data is the hidden information in the head of each page of your website. Its made up of the Page Title, keywords and a short description of the page content.

Page Content

This is the text, videos, galleries, images and links that make up each page of your website.

Backlinks

“Hold up there propeller head, I thought I warned you about that tech speak!”

What are backlinks? Backlinks are links from other websites that are linking back to your website (Referral Traffic).

Once you get your Google optimisation sorted out this is your next challenge. I'll go into methods of increasing your backlinks in a future article.

Freshness

What do I mean by freshness? What I mean is how often do you add new content to your website? Blog entries, videos, image galleries, links, news, seminars, workshops, etc.

If not prompted to do other wise Google will come and look at your website (Spider) every 10 – 14 days. If your site hasn't changed or had any new content between this visit and the last your website will either stay at its current ranking or even drop positions.

As you can see creating your website is only the beginning. In the next article I'm going to focus on 6 easy to understand steps that will help your site to start climbing the Google ranks towards that Number 1 spot.

N@

Is your website a lame duck?

A question I am asked more and more often is “Why doesn't my website get any traffic?” A simple question with a complex answer.

In the online world or Interweb as my grandmother calls it, the phrase “If you build it they will come.” is wrong. What it should be is “If you build it, market it and keep it fresh they will come.”

This article could be applied to any website. But in line with the fact that we work almost exclusively with photographers in developing websites and competitions, I am going to write a series of articles on how to take control of your photographic website, understand why your not getting traffic and give you some practical tips and information to get it moving again and turn it into the marketing tool is was most likely designed to be.

Ok, where to start, where to start?

The first thing I usually ask when developing a site for someone is “Why are you here? Who sent you? Are you from the government?”

Once I get my paranoia out of the way I ask “What is it, you want this site to do?”

Now the answer to this question gives me a good idea on the direction the site needs to take and the framework it will need to support it.

I want my site to showcase my amazing photography.

I'm not sure, my friend told me that I have to have a website. So here I am.

I want a way to interact with my clients.

I want a blog, they look cool and I want to share my thoughts and knowledge.

I want an online gallery where I can sell my images.

If I build a blog style website for someone who wants to sell their images online I'm going to have an unhappy camper.

But further to that the client is going to have a website that they will push into the too hard basket because it doesn't work the way they want it to do.

Ok, now is the point where you pause and think about your site.

Does it do what you want it to do? Is it hard to use? When was the last time you looked at it? Do you know how many hits you get?

If the only reason you have a website is so that you have something to put on the bottom of your business card or a reason to get excited when you Google your own name (Don't pretend you haven't. We all have at least once.) you should probably stop reading now.

For the rest of us here is some basic information on where traffic comes from for the average under performing website.

Google Search 70%

Returning Visitors 10%

Referral Traffic 10%

Other Search Engines 10%

As you can see getting your site indexed and optimised correctly for Google is one of the biggest factors that will effect the success of your website.

Your now thinking yeah its all well and good to say I need to be optimized for Google, BUT I'm no webhead! I cant spell html! And I don't go by the online name of Lovemachine768.

An easy way to gauge how well your website has been setup is to go to Google and type in your name or the name of your business.

Are you on the first page of results? Are you in the top 5 results.

How much is the top spot on Google actually worth?

According to data from the Chitika network, it’s worth a ton – double the traffic of the #2 spot, to be precise.

Reference: http://chitika.com/research/2010/the-value-of-google-result-positioning/

So how does Google work out your position? Your position is calculated based on a number of factors but the major ones to pay attention to are;

Meta Data

I know your thinking “Speak english man! “

Meta Data is the hidden information in the head of each page of your website. Its made up of the Page Title, keywords and a short description of page.

Page Content

This is the text, videos and images and links that make up the page.

Backlinks

“Hold up there propeller head, I thought I warned you about that tech speak!”

What are backlinks? Backlinks are links from other websites that are linking back to your website.

Once you get your Google optimisation sorted out this is your next challenge. I'll go into methods of increasing your backlinks in a future article.

Freshness

What do I mean by freshness? What I mean is how often do you add new content to your website? Blog entries, videos, image galleries, links, news, seminars, workshops, etc.

If not prompted to do other wise Google will come and look at your website (Spider) every 10 – 14 days. If your site hasn't changed or had any new content between this visit and the last your website will either stay at its current ranking or even drop positions.

As you can see creating your website is only the beginning. In the next article I'm going to focus on 6 easy to understand steps that will help your site to start climbing the Google ranks towards that Number 1 spot.

N@

Louis Pang is an internationally sought after photographer and speaker.

He is a the first Asia-based photographer to speak and judge at Wedding & Portrait Photographers International (WPPI) convention, the world's largest wedding photography conference held annually at Las Vegas, USA.

He has been a featured speaker for Asukabook, Epson, Lastolite, Nikon and Think Tank Photo.

Louis is an eight-time WPPI award winner, including the coveted International Portrait Print of the Year Award 2009.

How long have you been picking up a camera?

Eight and a half years.

Did you always know that you wanted to be a photographer?

No! I just graduated with a degree in writing and history. Worked as an editor at the University of Toronto’s campus paper because I wanted to be a journalist. So I graduated, returned to Malaysia and started working for a newspaper. The editor decided that I should take some pictures while I worked on stories. I bought a used FM2 with a 35-70mm lens and a Sunpak flash. That was my first camera kit. Friends noticed that I had an eye for images. Winning two district level photojournalism awards as a rookie further affirmed my passion and direction.

What is your speciality as a photographer?

I started out as a news reporter and photographer. It was a great lesson on understanding people and being sensitive. I could be covering a cabinet meeting in the morning and interviewing fire victims in a slum in the afternoon. Learning to relate to people from different background is a big part of being a photographer.

When your not shooting for clients, what kind of images do you like to shoot?

I love storytelling. I was in Havana, Cuba for a shoot a few months ago. I got up early in the morning  to do some street photography, documenting the lives of regular Cubans. The challenge is always to be able to convey what and how I feel onto a photograph. The other thing I love is technically challenging photographs. Working with multiple flash and transforming a mundane scene into something spectacular is a challenge I relish.

How did you first get into judging?

WPPI 2010 was the first time I was appointed a judge and what an unforgettable experience I had working with Bambi Cantrell, Yervant, Cliff Mautner, Michael Greenberg and Rocco Ancora. Judging the International Aperture Awards is another big honor. I am looking forward to it.

Do you think there are extra considerations to be made when entering an International versus Local competition?

A story that has strong cultural significance may get lost in translation during an international competition because the judges, being foreign to the cultures, may not get it. However, a strong image with a great story usually stands out. Judges always look forward to being surprised, dazzled and impressed. Creating something that’s unique is tough, but rewarding.

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

It’s an opportunity to benchmark my work against an international field of submissions. I look forward to the judges’ comments and also the winning images. I spent several hours at the gallery of the winning images to be educated and enthralled.



What are the first 3 things you look at in your images when you enter a competition?

Is it different and unique? Does it convey a strong story or message? Is it technically sound? I am careful not to over process the image. Watch out for overblown highlights and losing details in shadows.



What advice would you offer photographers entering a competition for the first time?

Judges are looking not only for “good” & “pretty” images. We want images that are technically sound and visually pleasing but also “interesting images” that grip our hearts, stir our curiosity & prompt questions.

You can find out more about Louis at http://www.louispang.com

Entries to The 2010 International Aperture Awards close on 15th October.

Chris Lalonde talks about getting over the fear of showing your work.

Leading Canadian photographer Chris Lalonde gives us his thoughts on entering photography competitions and how entering can help you to open yourself up other peoples opinions and get over the fear of showing your work.

As a principal photographer at Photolux Commercial Studio, at age 35, Christian Lalonde, has already made his mark in the industry. Chris is an extremely versatile photographer whos work illustrates high standards in lighting and composition.

His work can be seen circulating on the Canadian 5$ banknote. As part of his impressive repertoire Chris recently received top honors in the 2010 Applied Arts Awards as well as a 1st Place in the Industrial Category and a 2nd Place in the Wedding Album Category at this years WPPI Convention.

How long have you been picking up a camera?

I've started plying with a camera in my third year of high school.  And haven't stopped since!!

Did you always know that you wanted to be a photographer?

In my last year of high school is when I really knew that's what I wanted to do.



What is your speciality as a photographer?

I would say my specialty is diversity.  I do a lot of food, Architecture & interiors, advertising, corporate and weddings .

When your not shooting for clients, what kind of images do you like to shoot?

When shooting for myself I really enjoy shooting Architecture, landscapes and abstract things.

How did you first get into judging?

I first started judging at the provincial level during a convention.  I really enjoyed it and learned alot from it...  That was 8 years ago!

Do you think there are extra considerations to be made when entering an International versus Local competition?

Definitely you have to consider that your work is going up against a lot more people in very different markets. You need to be certain that your image have good standard, impact, and be shown as best they can!

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

The main thing I think you get from entering a competition is experience.  You learn a lot from hearing what others have to say about your images. What is great about them and how they can be improved.  It's also great to get over the fear of showing your work!!  If you don't try you never know how you could do!

What are the first 3 things you look at in your images when you enter a competition?

The main things I look at when choosing my competition prints is impact, how the image makes me feel, technique, is it high in quality, lighting technique, processing etc.  Do I have another image that is stronger, have I already seen a similar image in another competition?  If so then I pass on it!  And move on to the next one.

What advice would you offer photographers entering a competition for the first time?

Don't be afraid to try competitions!! Don't enter tons of images just enter your best.  Be certain that what you enter  is prepared and printed as best as it can be!!  Accept criticism and grow from it!!

You can find out more about Chis Lalonde at  http://www.photoluxstudio.com/commercial

Entries to The 2010 International Aperture Awards close on 15th October.

The importance of finding a photography mentor, Sue Bryce

As one of our youngest judges in the International Aperture Awards, Sue Bryce brings freshness and a keen eye to the panel.

Sue is part of the new breed of photographers that are embracing the latest in technology and techniques to deliver Moving Portraits to her clients with Video Fusion.

Sue Bryce FNZIPP II AAIPP is a Portrait Photographer specialising in Stills and Video Fusion and a Photoshop Master.

The winner of NZIPP People Photographer of the year 2007 and  Highest Scoring Print 2008. As well as APPA Highest Scoring Print 2009 AUS.

How long have you been picking up a camera?

20 Years

Did you always know that you wanted to be a photographer?

Yes I started in a Prolab as a Photographic retoucher at 18 and always had a camera.

What is your speciality as a photographer?

Portrait is my Business, Contemporary Glamour is my Genre. My specialties are Posing and direction but I think that is mostly connection I know how to empower my client, and create trust so they give me what I want. And Photoshop



When your not shooting for clients, what kind of images do you like to shoot?

My awards images are my passion I like Dark intense illustrative imagery that communicates, evokes, and tells stories.

How did you first get into judging?

I am a FELLOW with the NZIPP the natural progression for a photographer that is winning in the Awards arena is to keep growing, win awards gather accolades learn from mentors and then ultimately become one. Judging helps you give back everything you’ve learned.

Do you think there are extra considerations to be made when entering an International versus Local competition?

No I would assume the standard is to push yourself past what you think you are capable of every time locally or internationally the goal here to create with a camera what your mind is capable of visualising.



It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

Well for starters I’m addicted. To conceptualise and create a story with an image that communicates so strongly you can watch five judges discuss it and even understand it to a point that they are telling your story out loud is simply the most unbelievable experience.

Then to be awarded and recognised amongst your peers is the greatest honour but the pinnacle for me is winning GOLD. For me as an artist Gold is perfection and it truly is a High. It took me fours years of entering to achieve Gold now this is my goal every time.

What are the first 3 things you look at in your images when you enter a competition?

I LOVE IT: If I can work on an image for hours and still love it I know the people seeing it for the first time will be captivated. I also don’t enter an image unless I truly love it then if it fails I still love it and that’s all that matters.

COMMUNICATION: To tell a story and create an image with depth and emotion to me is so important I want people to be moved by my work, they might even hate it or feel uncomfortable but they will never be passive about it.

And third TECHNICAL: All illustration and story and mood aside if you technically fall down with a print either in Capture, image quality or Print quality you will be pulled apart. Remember there is 5 masters up there that know everything there is to know about image capture and photoshop get your basics right.



What advice would you offer photographers entering a competition for the first time?

Use your GUT instinct and except good advice from a respected award winning mentor. I had a Mentor, he was my first Boss and award winning Portrait photographer and judge when I was ready to enter my first Nationals. I took 15 images that I loved and I went to him and he talked about the reaction he was having to the images. What he liked and didn’t like about them. Then he left it up to me to choose the final selection and make the changes I could make to them.

From my first competition I won 8 awards from 8 prints because I was mentored. From that day on I watched all the judging. I was a sponge for knowledge, I learned the way the judging is done, what they liked and criticised. I watched the level of illustrative work winning awards I learned and I practised until I was good enough, I have never stopped evolving I’m still always trying to be better than last year.

You can find out more about Sue at  http://www.suebryce.com

Entries to The 2010 International Aperture Awards close on 15th October.

Don’t be clever on Photoshop and try every filter in the draw, good retouching should not be noticed…

With such an experienced and respected photographer as part of the International Aperture Awards we know that the standard of judging is going to be high. We are honored to have Ray Lowe on the panel again for 2010.

Ray Lowe has been working in all areas of professional photography for over 44 years with Fellowships awarded in Portraiture, Weddings and Industrial photography.

The only person to be awarded 2 Honorary Fellowships in the UK Ray has also been President of both the UK's professional associations, BIPP & MPA.

Ray has been a lecturer  and judge around the World for 30 years. He was Chairman of UK qualifications and Chairman of FEP qualifications.

Ray has been the Winner of 9 Kodak European Gold awards along with a string of national UK awards over many years.

How long have you been picking up a camera?

Makes me feel ancient but over 43 years as a professional photographer.

Did you always know that you wanted to be a photographer?

I wanted to be a policeman on horseback, but went into photography to have something to fall back on, if I was a dreadful cop, which never happened, once bitten by the photography bug…

What is your speciality as a photographer?

I trained as an Industrial photographer, then as a wedding photographer, then as a portrait photographer, got my Fellowships in all three and still practise all three…



When your not shooting for clients, what kind of images do you like to shoot?

Landscapes, just me and wide open spaces…

You have been an international judge for many years now, how did you first get into judging?

I was invited by Kodak a long time ago after I received my Fellowships and have been helping others ever since…



Do you think there are extra considerations to be made when entering an International versus Local competition?

You need to realise they will be viewed by a wider cultural selection of people…

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

Go into any competition to learn, not many can actually win, but learning how to do it better will keep moving us up the ladder. Never take a poor score personally, look at it and stand back and try and understand why…If you get over 80 cheer, you are on the up, over 90 have a drink and know you are in the top 5%... Never give up or let anyone’s comments knock you down…

What are the first 3 things you look at in your images when you enter a competition?

Does it have the WOW factor? Wow factor is, does the hair on the back of your neck tingle?

Print quality (or overall quality on the computer screen) poor quality will knock your score every time…

Composition…poor composition can destroy a brilliant creative image if the image does not get the viewer to look at the main subject…

What advice would you offer photographers entering a competition for the first time?

Be different!!!!

As judges we see so much work that is just boring and ordinary…try to create your own style, not copying others or seeing what did well last year and trying to emulate that…

Don’t be clever on Photoshop and try every filter in the draw, good retouching should not be noticed…

Be bold with your cropping, it does not have to be a rectangle, squares and panoramic can have so much more power to an image…

Before you send your images in, ask yourself, are these my best images, produced the best way I can? If yes, send them with pride…

Ray Lowe

You can find out more about Ray at  http://www.raylowestudios.co.uk

Entries to The 2010 International Aperture Awards close on 15th October.

Jackie King asks “Is it good enough?” “Am I proud of it?” when entering competitions.

Based in England, Jackie is the recipient of numerous awards, including UK British Professional Photographer and British Portrait Photographer of the Year, both in 2005.

Jackie has worked within the film industry in Ireland as well as the fast-paced fashion industry in Italy for Milan-based design duo DSquared. She honed her photography skills in the United States at the Maine Photographic Workshops and then with fine art photographer John Paul Capongiro. Tying her many experiences together, today she produces images ranging from hyper-realistic to avant-garde abstraction that define her intimate style when concentrating on her Portraiture and Fine Art Photography.

Most recently she gave a seminar on 'Women in Photography' to the BIPP National Awards and also moderated a panel discussion at B&H Photo Video in NYC.

Jackie thrives on the artistic energy that propels one of the world’s most exciting capitals while also taking inspiration from her many travels across the globe and is currently preparing for an exciting exhibition which will showcase her intimate colour work in New York in May 2011.

How long have you been picking up a camera?

My whole life, I grew up around cameras, my parents and grandparents always used to be capturing us and my Grandpa had his own darkroom (which no one was allowed in) so I just started out very basically very early, taking a snap when my mums camera was around and I was lucky to be given (automatic point and shoot film) cameras for Christmas, it’s good to see I have conquered a few techniques since then lol, Professionally I’ve been shooting for the last 10 years,

Did you always know that you wanted to be a photographer?

Not at all, I love and gain enormous inspiration from every art form and it all happened quite late on for me I guess. After completing a Fashion Design degree and working extensively in the Fashion Industry and then on Feature Films it was Photography that kept popping up in my life and Photography which completely captured my heart.



What is your specialty as a photographer?

People and Fine Art Photography, I love the interaction with the people I meet and photograph and I love creating little worlds, stories and tales which evolve in the process of making my Fine Art images.

When you’re not shooting for clients, what kind of images do you like to shoot?

Recently I’ve gotten into calm peaceful Landscapes, so early morning or late afternoon it has been known particularly over this summer for me to take myself off and wait, photograph and enjoy, I’m also having a love affair with my holga all over again! (I’m having a show next year in NYC)



How did you first get into photographic competition judging?

Through being a Director of the BIPP, I also now judge the Towergate Fine Art Photography Award too.

Do you think there are extra considerations to be made when entering an International versus Local competition?

I’m sure there are many, mine are always the same regardless of the competition I’m entering, namely “Is it good enough?” “Am I proud of it?” If I can happily, confidently answer positively to these two questions then yes I’ll enter, if I have to think about – not a chance. I have a good chat to myself, go away and work harder to improve my image taking so that I might get an image for next time. Entering competitions is a great way of placing yourself within your pier group, it’s excellent to share images and spark discussion and a thought process.

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

A few more grey hairs and wrinkles lol, It has a lot to do with critically evaluating your own work and actually stopping and seeing collectively where you are at and how you are evolving. Entering is always a mixture of a little nerve raking and exciting too,



What are the first 3 things you look at in your images when you enter a competition?

Impact, Something different, Pizzaz! Have I seen this before? Does it look familiar? If it’s an image I don’t recognise or one which doesn’t look familar, if it leaves an imprint and is memorable and if it has a WOW factor (also for me it’s all about how it “feels” and whether I feel a sense of balance and ease with the image). Striving for originality is key.

What advice would you offer photographers entering a competition for the first time?

Be Brave, Be Bold and if you think it fairly represents you then go for it!



Jackie is part of the Judging Panel for the 2010 International Aperture Awards which has a first prize of $20,000 usd

Find out more about Jackie at http://www.jackieking.net/

Acclaimed landscape photographer Christian Fletcher shares his thoughts.

Christian Fletcher has been photographing landscapes in Australia and around the World for over 19 years. In that time he have witnessed huge changes in technology, the introduction of Photoshop and Digital and the demise of Film and analogue printing. What an incredible time to be taking photographs.

Christian is an acclaimed landscape photographer with three galleries in Western Australia as well as numerous outlets that sell his work.

How long have you been picking up a camera?

I have been shooting for 20 years as a professional and at least 5 years before that as a hobbyist.

Did you always know that you wanted to be a photographer?

No but I did like it when I was growing up. It was only when being out of work and moving to the country that I thought I would like to be a photographer. Never back then did I think I would actually make a career out of it.

What is your specialty as a photographer?

I am a Landscape photographer predominantly but take on commercial work at times.

When your not shooting for clients, what kind of images do you like to shoot?

I will shoot anything for myself, planes, animals, people, buildings everything that looks good.

You have been an international judge for many years now, how did you first get into judging?

I started judging local competitions and then as my profile increased got asked to judge more serious competitions such as this one, the International Pano Awards, the Better Photography awards and a Jetstar competition that recieved over 30,000 entries.

Do you think there are extra considerations to be made when entering an International versus Local competition?

Not really. As it is all done on-line these days borders aren’t any barriers to success. The main thing is to look hard at your entry and make sure it is the best work you are capable of. The judges are experienced shooters and can spot problems in an image in seconds.

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

Firstly you get the excitement of wondering how you might go, the excitement if you win but most importantly it forces you to look at your work more critically and it pushes you to create an image that is the best work you have done at that time. It shows you where you stand amongst your peers and teaches you to produce better work.

What are the first 3 things you look at in your images when you enter a competition?

Composition, light and detail. What else is there? Ok subject matter, mood and accuracy.

What advice would you offer photographers entering a competition for the first time?

Go for it, put in your best work, think about the brief of the competition and stick to the theme. Don’t be caught up in emotional connection to the scene i.e. you might think your kids are cute but others don’t. Get friends to tell you which ones they like. Don’t go in expecting to win so if you do it will be sweeter, if you don’t you won’t be disappointed. Remember it is just a game and sometimes your lucky on the day. I have only won two competition in the past 20 years.

As well as being part of the judging team for the International Aperture Awards, Christian currently has an amateur competition running with the theme of Australian Landscape.

Checkout Christian's Landscape 500 Awards

and The International Aperture Awards.

Find out more about Christian at

http://www.christianfletcher.com.au

Be brave! To enter is to learn. Dennis Orchard's thoughts on photography competitions.

With an impressive number of letters after his name, Dennis Orchard is a highly respected photographer and international photographic competition judge.

Dennis is returning to the International aperture Awards judging panel for third time in as many years and is an invaluable member of the team.

Dennis Orchard ABIPP ALPE AMPA ARPS CrSWPP

Twice UK Wedding Photographer of the Year, Dennis has, for the last 6 years, Judged internationally at WPPI Las Vegas and has also been a UK national Judge with SWPP. Dennis holds the highest award at WPPI, the Accolade of Lifetime Photographic Excellence and in 2006 was honoured with WPPI's Lifetime Achievement Award for Services to the Photographic Industry.

How long have you been picking up a camera?

Before I ever picked up a camera I would pick up and “read” photographs. My aunt was an agent for a mail order catalogue and every year she would get a wall calendar with scenes of woodlands, waterfalls & cathedrals. From the age of 5 I would spend hours looking at the smallest detail in the images. By the time I was 8, I was hooked on “Viewmaster” 3D reels. Not the ones you get now which are all cartoon based, but the “Countries of the World” series. I travelled the world through those little 3D images and I still have my collection. I was 11 before I saved up to buy my first camera, a Kodak Instamatic. I still have the photos I took with my first roll of film. They are landscapes.

Did you always know that you wanted to be a photographer?

Not at first, because I really wanted to be a secret agent!

At 14 in England you get an interview with a Careers Advisor. I remember going into the room and seeing all these books on banking, insurance, engineering, marketing etc. And I couldn’t see a single book on Photography. So more for devilment than anything else, I said that I wanted to be a photographer. The poor chap didn’t have a clue about photography as a career and told me to find out what courses there might be. I did some research and discovered a 3 year Higher Diploma course in Photography, Film, Television, & High Speed Scientific Photography at Harrow College, London. I enrolled on the course at 18 and came out with a 2.1

What is your speciality as a photographer?

In my early days I only shot Landscapes. I worked for a Stock Library in London (which eventually became Getty Images) and travelled Europe with a plate camera photographing for Calendars & Posters. At that time my speciality was composition and my images would often sell because I would find different angles from which to shoot well known locations. Over the last 15 years I have moved over to photographing people. I started shooting editorial photography for The Daily Telegraph and other magazines. Eventually I found my love for Wedding Photography and I consider this to be my current speciality. The most important skill I have acquired in wedding photography is the ability to make people relax in front of the camera.



When you’re not shooting for clients, what kind of images do you like to shoot?

Last year I did a little “street” photography in Bath City (a World Heritage City). I limited myself to only one lens (85mm) and one aperture (f1.2). It was quite challenging to do. I also took some time off after a wedding in Scotland and drove around for a couple of days doing “moody” landscapes. This kind of personal work should be made into an exhibition, I know, but I am lazy & quite content to post it on Facebook and wait someone (or anyone, please!) to say they love it.

You have been an international judge for many years now, how did you first get into judging?

I paid a vast sum of money in a brown manilla envelope to Bill Hurter at WPPI!!!

OK but truthfully. In 1999 I won UK Wedding of the Year and part of the prize was a trip to WPPI Las Vegas. I entered the 16x20 competition for the first time that year and fell off my chair (literally, as I’m known for liking the odd Vodka) when two prints scored over 80 and I got my first 2 Accolades. I decided to go back the next year and enter again. I got 4 that year and in 2001 WPPI asked me & two other “Brits” to speak at the convention.

The following year one of my images got a Grand Award in Wedding Photojournalism and so WPPI asked me to speak again. Over the next couple of years I enrolled on the WPPI Accolades Programme. Through this programme you receive a point for each print scoring 80 + in competition. The highest award (for reaching 65 prints over 80) is the “Accolade of Lifetime Photographic Excellence” I achieved that in 2004 and they asked me to speak and also judge for the following year. In 2005 I got First place in “Wedding Photojournalism (Humour)” and WPPI asked me to judge for the second time (I must have done something right). In 2006 they gave me their top award “WPPI Lifetime Achievement Award” and I’ve been invited to judge every year since then. I have also judged at international level in Northern Ireland, Erie, Estonia and Baltic States and of course your IAA.



Do you think there are extra considerations to be made when entering an International versus Local competition?

I think in any competition it is important to establish the style of image that “fits” the profile of the organisation running it. For example, in America, it is unusual for a print to come First in both WPPI & PPof A. In the UK we have our Royal Photographic Society and the winning style with them is quite different from our British Institute of Professional Photography or Master Photographers Awards. So enter all your best images for local awards and then select, from the ones that do well, for International competition. Study the winning entries from the international comps to ascertain the style that the organisation leans towards.

In short: Don’t read Venusian poetry to a Martian.... they just won’t understand it!

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

Probably more like “What does entering a competition take out of me!” Anyone entering a competition will suffer the agony of deciding which images to select, closely followed by the despair of having left it almost too late to enter, and then for many, the guilt of forgetting about the whole thing and then, eventually, the self delusion of thinking “Well competitions don’t mean anything and all the judges are out of touch anyway” I admit to all those feelings!!

BUT! To enter is to learn. Sit in on the judging and see what the judges have to say about your print. Compare your image to others in the competition. What is distinguishing your image from theirs?. This comparison and questioning of your work can only lead to better photography and a clearer idea of where your style is leading you. This is what you gain from entering competitions.



What are the first 3 things you look at in your images when you enter a competition?

OK First has to be print quality. No judge is going to award good marks to a print that is too light, lacks contrast or is mounted poorly. Beware the bright lights of judging. Many prints which appear fine in daylight look pale and washed out under Competition lighting. Find out (from the rules) the lighting conditions for judging and print darker to accommodate.

Second has to be “story”. A picture is a communication. Ask yourself what is this picture saying to me. It can be quite simple like “We are a couple in love” or a landscape which proclaims “Look at how mighty & grand the World is” It can be more subtle like the work of Andreas Gursky. But whatever the story is, it must be believable. Brides without back support being dipped backwards by their Grooms while having the blood sucked from their necks is NOT a story I ever wish to tell.

Last and probably the most important is EMOTION. In fact if I were to have my way I would probably put EMOTION in first second and third place. But the emotion has to be real and not contrived. This for me is what sets apart the “good” from the “breathtaking”

What advice would you offer photographers entering a competition for the first time?

Be brave. Enter for the experience and the education. Don’t take it too seriously and don’t give up too soon. Try and find competitions where each entry add to a future award (such as the WPPI Accolades Programme) This will give you the incentive to carry on.

When you do win, which you will, if you enter and learn from the judging comments, tell everyone and be very very proud of your achievements.

"Turn your print upside down" an interview with Bob Coates

Bob Coates is a successful photographer based in Sedona, Arizona.

In addition, he's an author of photography books and magazine articles, educator and speaker. Currently serving his second term of Arizona Professional Photographers Association Bob is constantly looking to serve the photography profession and help fellow photographers grow their image making and business skills.

How long have you been picking up a camera?

Started at age 28 and messed about for 13 years until becoming a full-time pro in March of 1995

Did you always know that you wanted to be a photographer?

No. Went through a pile of careers before finding the creativity of photography kept and held my interest.

What is your speciality as a photographer?

I specialize in not specializing. Commercial, wedding, and scenic art are some of the areas I tend to spend more time in.

When your not shooting for clients, what kind of images do you like to shoot?

Scenic art. I'm now really interested in exploring black and white. We now have so many more tools to control every tone of a scene. Ansel Adams would be going crazy to have access to all the controls we have available to use from Photoshop to NIK filters, multiple exposures using HDR. Black and white is extremely exciting.

You have been an international judge for many years now, how did you first get into judging?

Must be getting old... I can't remember when I first started judging internationally. I got into judging by first getting into competition. Entering print competition through Professional Photographers of America and Wedding and Portrait Photographers International, my local guild and other competitions helped me to learn how to get images to stand out and develop my skills as a photographer.

Do you think there are extra considerations to be made when entering an International versus Local competition?

Try to come up with images with IMPACT! Showing the judges something they haven't seen over and over can give you a leg up. Spectacular lighting and new 'looks' are a good way to get extra attention. The difference between local and larger International competitions is that it's a bit harder to stand out at International.

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

Regardless of final results I've found many times even just entering a contest can generate a press release which means more attention for your business.

What are the first 3 things you look at in your images when you enter a competition?

Impact. Showing the use of the medium to it's fullest meaning control of the light to best show off the subject. Composition.

What advice would you offer photographers entering a competition for the first time?

Turn your print upside down after you think you have finished working on it. Leave the room. Come back and see where your eye goes in the image. Is it still on your subject or has your eye gone to another area of your image. The eye goes to the area of highest contrast and if that isn't your subject you probably don't have a successful print for competition.

Bob is on the judging panel of the 2010 International Aperture Awards. Entries close on 15th October 2010.

Check out Bob's fine art photography at http://sedonavista.com and commercial work at http://bcphotography.com

IMPACT, Storytelling and Composition. An interview with Kevin Jairaj.

In just a few short years, Kevin Jairaj has not only become one of the most sought after photographers in the USA, but also worldwide. Kevin is known for his dramatic use of lighting and color and his ability to create some of the most stunning wedding artistry for his clients.

He has been commissioned to shoot weddings in London, Hawaii, Trinidad and Tobago, The Bahamas, Mexico, Jamaica, and Anguilla in addition to the many weddings he shoots in the Dallas/Fort Worth Area and the rest of the USA. Kevin is also a favorite among the celebrity crowd and has shot weddings and events for many musicians, actors, and famous athletes.

Kevin has also won Numerous 1st Place Awards in the very prestigious WPPI (Wedding and Portrait Photographers International) 16x20 and 8x10 print competitions in addition to having several prints selected in the PPA Loan collection. He was also named a 2008 Top Knots of Wedding Photography by the very well respected Photo District News magazine and his work has been published in countless books and magazines such as Photo District News, American Photo, Rangefinder, USA Today, Professional Photographer, Destination Weddings, Southern Vanity, and People just to name a few.



How long have you been picking up a camera?

I have been shooting since college, but actually went fulltime in 2004-2005

Did you always know that you wanted to be a photographer?

No, I am a sports nut, and always thought I would be in Sports Management! In fact, I still shoot Professional Sports any chance I get!

What is your speciality as a photographer?

I love photographing Weddings, Fashion, and Glamour.

When you're not shooting for clients, what kind of images do you like to shoot?

Sports, Fashion, and edgy Glamour.



You have been an international judge for many years now, how did you first get into judging?

I got into it through WPPI and absolutely LOVE it. It makes me look at images a whole different way than you would for a client. It's honestly one of my favorite things to do and fortunately, I am asked to judge several competitions every year.

Do you think there are extra considerations to be made when entering an International versus Local competition?

Most definitely! You need to take extra care to make sure every little detail is done to your best ability as the talent level is much deeper at the International Level!

It's been said many times that entering a competition is more than just winning. What do you take out of a competition when you enter?

I agree! You learn so much about what is trendy and hip at the moment as well as ways to look at your own work with a different eye.

What are the first 3 things you look at in your images when you enter a competition?



IMPACT, Storytelling, Composition. That being said, IMPACT will always be first in my images or when I judge.

What advice would you offer photographers entering a competition for the first time?

Study previous competition winners as well as make sure your image has a lot of Impact and tells a great story. Also, pay attention to the little things like cloning out dust spots or dodging and burning in the right places, etc...

Entries to the 2010 International Aperture Awards are open until the end of October. The judging will be carried out through November with the winners announced in December.

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