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2010 CENTER AWARDS Q&A WITH THE JURORS ––––––––––––––––––––––––––––––––––

Q: What qualities define a successful photographic project?
A: Project Competition juror, Markus Seewald, Photo Editor, Geo magazine
"A photographic project should have a unique idea that is visualized by strong images, which pull the viewer into the story."

Q: What are the qualities of a strong image?
A: Director's Choice juror, Chris Bennett, Newspace Center for Photography
"Thoughtfulness, vision, well crafted, final execution/follow through."

A: Director's Choice juror, Laura Valenti, Newspace Center for Photography
"I'm most drawn to images that are cleanly composed and emotionally engaging. To me, image content is not as important as the interpretation and presentation of that content. Images with a delicate touch, an attention to light and shadow, and an ability to transcend a purely technical approach to the medium are the most compelling to me."

Q: What qualities exist in the beginnings of a successful photographic project?
A: Project Launch jurors, Debra and Darren Ching, Co-Directors, Klompching gallery
"At the beginning of any photographic project, there needs to exist a clear purpose, even if the photographer is a little unsure as to how it will be achieved photographically. A good understanding, on the part of the photographer, of contemporaneous work, to which the proposed work might be compared, is important-as is knowledge of what's been before. This contextualizes the photographic project within the wider photographic arena. We're looking for projects that possess that special spark which shows the potential of what the project can become. Creative conviction in the project is essential."

Q: What comprises a cohesive body of work?
A: Project Competition juror, Markus Seewald, Photo Editor, Geo magazine
"A cohesive body of work needs a good concept and should be well told with a start and an end. This can be achieved by choosing a unique subject and new perspectives or a new approach, so the viewer is touched by looking at the photographs. A good edit is essential for a good result as well!"

A: Project Launch jurors, Debra and Darren Ching, Co-Directors, Klompching gallery
"A cohesive body of work consists of a clear vision, excellent craftsmanship appropriate to the content and the ability of the photographs to speak for themselves. The body of work needs to 'make sense' and it's essential for the photographer to know the context in which the work will be viewed-be it editorial, photojournalism, fine art, etc. If the content of the images are seen to be similar to prevalent trends within photography, the body of work needs to demonstrate how it's a fresh approach and different to what else is available amongst the photographer's contemporaries."


Q: If you had to choose one - unique personal vision or strong craftsmanship?
A: Project Competition juror, Markus Seewald, Photo Editor, Geo magazine
"A body of work should foremost show a unique personal vision; the mastery of photographic craftsmanship and the conscious choice of certain techniques and materials form the basis for this vision."

A: Project Launch jurors, Debra and Darren Ching, Co-Directors, Klompching gallery
"If we had to choose one, then it would be a unique personal vision-this is a facet of creativity that is either there or not. Craftsmanship, on the other hand, is a component of photography that can be developed and learned over time."

A: Director's Choice juror, Chris Bennett, Newspace Center for Photography
A very tough question. Unique personal vision is most important to me although I have had some images ruined do to a lack of craftsmanship in the printing and framing.

A: Director's Choice juror, Laura Valenti, Newspace Center for Photography
"Unique personal vision is most important to me - by far. Images that are technically strong are wonderful, too - and ideally an image would have both strong technique and vision. But, images that are purely technical fall flat - while images with strong vision can transcend some technical issues. To me, the question of technique vs. vision is like the difference between mathematical equations and poetry - both describe the world the world, but in very different ways. I prefer artists to be visionaries as opposed to technicians."

Q: What are some pitfalls in submitting to competitions?
A: Director's Choice juror, Laura Valenti, Newspace Center for Photography
"Photographers need to be aware of contest parameters when choosing images to submit. For a project contest, entrants should edit their work very tightly, so that it reads as a comprehensive series. For a single image contest, entrants have more flexibility, but the work will be viewed more seriously by jurors if a clear sense of the photographer's voice comes through. A portfolio that feels randomly selected isn't as competitive."

Q: Do you have any advice for photographers submitting to the awards?
A: Project Competition juror, Markus Seewald, Photo Editor, Geo magazine
"The photographer should be confident about his/her work."

A: Project Launch jurors, Debra and Darren Ching, Co-Directors, Klompching gallery
"As with all awards, read the submission instructions carefully and follow them without exception."

A: Director's Choice juror, Laura Valenti, Newspace Center for Photography
"Photographers must be invested deeply in their subject to produce images that compel viewers to invest themselves deeply. Passion and clarity of vision come through in the work. Before submitting to the awards, or another contest, it is a good idea to take a step back from your work to attempt to view it objectively. Enlisting the help of other photographer friends and mentors can be instrumental - objective eyes can help you gain valuable perspective in your editing/sequencing process. "