Photography contests have the same structures that are prevalent in many other fields. Namely, a panel of judges. This is always the wild card in the equation but if you follow some basic strategies you can do well.

Is it wrong to shoot images for competition? Absolutely not! Collect images and samples from books and magazines and websites. Creatively borrow them and try to duplicate the idea. Make it your own. Be inspired by what you see. Check out websites and forums.

Buy books from the PPA (Professional Photographers of America, WPPI (Wedding and Portrait Photographers International) and other organizations that highlight the winners from previous years. You will see what prints won and get a sense of what judges like.

You may also notice and get baffled by some prints, wondering what the judges saw in them. Don’t get too hung on those and be inspired by the ones you like and have an affinity for. Educate yourself. Go to as many print judging events as you possibly can and stick around for the print critiques and judges comments.

Feel free to send me an email at info@profitablestudio.com for any critiques on possible entries you may have. But be forewarned, part of the learning process is becoming detached and maintaining an objective viewpoint. I will do you a favor and tell you whether I think a print has chance or not, so don’t be hurt if your prints do not meet your expectations. Honest feedback is sometimes your best friend.

Okay, here’s the rules for success with print competition. These are in order of top priority.

RULE #1– IMPACT- Above and beyond anything else your photo must have impact. If this isn’t obvious then likely the print won’t do that well. How do you know it has impact? Simple. You look at it, you react. This doesn’t mean to say that any print with impact, such as a shocking photograph will do the job. Impact must be pleasing to the eye. It’s instant, it’s likeable and it’s touches you at an emotional level. If you have to analyze, then it won’t have impact. Although judges will analyze a photo, even great ones, this is after the initial impact has made it’s statement on the viewer. It’s spontaneous and instant. It’s power.

 

RULES#2– CREATIVITY– How is the image represented? Is it done in a way that is obvious yet no one thought of it but you? Add a unique twist and you added the second most important ingredient. Some very simple portraits using traditional poses and lighting can be very refreshing and a thing of beauty. Creativity works in this direction as well so it doesn’t mean you have to re-invent the wheel.

RULE # 3– SUBJECT MATTER– This works hand in hand with impact and creativity. Everyone loves portraits of little girls and brides, but these well chosen subjects better be done with enough impact and creativity that they rise above just being a portrait. Beauty sells, but you can still make a rusted old tool box look beautiful and win awards.

Whatever subject you choose, make sure it will work for you, so all the other elements can bring it together. Babies, sunsets, landscapes and flowers are tough, very tough subjects to bring to high scoring levels.

Unique architecture, elements within a scene such as trails and trees, interesting backdrops can help create visually impactive subject matter. I used to keep a note book in my car and would jot down interesting locations in my city for future reference. Try this, you will be amazed at how many spots you will start to see. Look for places that offer strong lines, patterns, receding patterns and interesting visuals.

One spot in our city was the side of a restaurant. It was about 2 stories tall and had a huge painting of a cowboy rustling steer. It was a great wall, and I swore I’d get a shot one day. That day came when I was photographing a young lady who’s parents owned the local leather store and had cowboy gear, coat, hat, boots, chaps, you name it, they brought it all in the studio. I told them we were heading to the wall as soon the light was right. We waited close to sunset, got out there and took some amazing shots. Won first place and had that print showcased in the annual awards coffee table book. What an honor!

Subject matter should be a very simple yet powerful idea, properly light, composed, crafted and presented. Too many subjects can kill a print. Now I am not talking about, for example, a dynamic shot of a herd of wild horses racing along a huge field with strong late afternoon light streaking accross the lead stallion through the maze of hoofs and dust. In this case, many horses, or the subject, a “herd”, works. It is still a very simple yet powerful idea. But start to throw in too many other subjects and you will loose impact. If they aren’t there to support to image, take it out. Less is more.

RULE #4– LIGHTING Lighting will make or break a photograph. It is the thing that you must learn to see, read and master. Get to know it. Study it until your brain hurts. My attitude is less is more. Use no more than you need. And try not to use lighting for the sake of lighting. It should not be obvious. It does it’s job then it gets out of the way. Lighting is so cool it is beyond words and description. But, we still need to follow some strategies and learn to harness this awesome power. Learn to “see”.

Lighting will pull more color, pattern and depth form a photographs than anything else. Most award winning photographs use strong directional lighting that work with the subject and brings out the best.

I took a photo once, early in the morning, everyone still asleep. As I sat there sipping my coffee I noticed the warm sun rays coming in through the sheer curtains and flowed across the kitchen table. The table was textured with a strong blue grey granite surface. HHhhmmmm….I placed some old flowers on the table that I had bought my wife about a week before. Took a white porcelain mask that we had on our wall, placed it beside the flowers, stood over the table and shot down at a scene of this mask with dried flowers, petals and leaves arranged all around it. The light was flowing in from behind this scene. Essentially it was being almost back lit. The window, the light source, was coming in directly ahead of me. The table placed between me and it. This lighting literally pulled the color, texture and shape and gave it all life. And it won an award.

Most lighting is strong, dramatic and directional. Look through most National Geographic magazines and notice how the photographers use lighting. Many times they are back lit or side lit for impact.

RULE #5– COMPOSITION– Composition is critical. It simply means placement of your subject in relation to the overall scene, and all other elements within the scene– elements which support and strengthen the inherent essence of the subject and the story it tells. In the last photo I described I placed the mask to the far lower right. It was the main subject so it’s placement was critical. I placed the flowers so they “flowed” into and toward the mask. Can you “see” it? I bet you can. The mask was white with a very small amount of color in the cheeks and lips. The rest of the scene was darker with a small amount of faded color from the dried flowers and the darkish blue/grey texture of the table. Loads of texture, color and lines flowing to the area where the eye would be drawn to: the mask. Placing items to create the illusion of depth is a great way to add impact. Place objects for foreground/middle ground and background effect.

In the photo of the lady against the wall I also placed her in the middle and lower. The scene of the cowboy worked so it leads the eye down to the girl in cowboy gear. It all flowed together.
basic guidelines. Place the subject in the lower right corner. This is the most popular spot. Try the lower left, upper right, upper left. Try these again but really push the composition to the extreme. Sometimes, although not often, a subject just works smack dab in the middle. This will often work with a square image which reinforces the symmetry that this composition coveys.

RULE #6– PRESENTATION– Your prints must follow certain guidelines that are part of the competition rules, and this is part of your presentation. Most competition for prints ask for mounting board which is usually a little thicker than normal mounting board. Some don’t however so check the rules. They don’t ask for a specific surface but it is a given that gloss is the best surface and finish to use. Gloss will pull your colors and texture out while matted surfaces will tend to mute them, lessening your chance of scoring higher.

Competition prints are darker than normal, although not by much. I like to gently burn in all around, vignette style, towards the subject, sometimes barely noticeable. This helps lead your eye to the subject. Of course on white, light or high key shots I wouldn't burn in, but maybe do the opposite….dodge all around.

If your print is lacking in certain technical elements such as sharpness, contrast, mounting, overall printing or any area, no amount of impact, creativity, or subject matter will disguise the flaws. Everything in your print must be seamless and flawless. Even the choosing the right title is important.

Naming your print for competition. Most competitions insist on titles for prints. “Untitled” simply will not cut it, and using this approach will have the same effect as having no title at all– disqualified. Even if titles are optional, being obscure and sublime by calling your print “untitled” is lame. Might as well add a little more into your presentation and give it that little extra edge by coming up with a great title.

Print titles should resonate with the print. Simply calling a print the name of the subject ie “Michelle” or “Boats” is shallow and lacking in impact. So what names work best and how to you come up with names that are suitable? Here’s how I do it. First off, I look at the print and write down all the elements and moods. Write ‘em all down. Start playing around with combinations. I try and use words that have simple poetic cadence. For example, one portrait I took was of a little girl with a small dog. Behind her was a hand created backdrop, very artistically rendered flowers. The print was very painterly. The title I came up with was “Petals and Puppies”. Simple uh? Works. Try it. Look at your print and ask yourself: “what does this image say?”

Other prints have obvious titles, such as one of my favorites that my friend Anna took of a business executive at his desk at home. It was a beautiful print of him at his desk, working away, with warm window light pouring in from the side. The obvious scene and title that this print evoked, and was a big hit with the judges was “Home Office”.

The title that I eventually came up with of the young lady against the wall (above) with the cowboy was “The Lash and the Lass”. I found lash, which means whip, which is what the cowboy is holding up high, when I searched through the thesaurus. Take some words and look for other meanings. Go through your thesaurus or dictionary. Or go to www.thesaurus.com and do some searches. Pool all your words together and narrow down a few that harmonize well together and “fit” with your print.

By the way, the print of the porcelain mask and the dried flowers was “Petals and Porcelain”.

Final thoughts.....
Remember , when you are shooting and composing, to look at every element in the photograph. Everything must be there for a reason. If there isn’t, take it out. Simple is often better. Everything must tell a story, or enhance the story.

Don't be afraid or scare to enter print competitions. They are useful and in spite of the pain and agony, will help you grow. I guarantee it. No pain, no gain, as they say. Martial artists never progress to the next level until they take the much anticipated 'grading'. Musicians can never move forward until they learn to perform for an audience. There is much opportunity in competitions. Go for it!

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