A proposal for a new competition

In the previous post I listed the top five reasons why we need a new competition:
5. The scale is too small

4. There is no standard by which images are judged

3. The difference between 79 and 80 is too great

2. The overpowering judge

1. There is no feedback loop

Today I propose a solution.
My suggestions for a new competition are based on a competition we had at our local affiliate the year I was president.

Images were uploaded to a website and judges would make their assessments from the comfort of their own computers on their own time. This eliminates the overpowering judge syndrome (reason #2) and also eliminates the problem of the problem of “judging fatigue” allowing judges to do their work as they wish.

Images were judged on a scale of 0-5 in each of four categories: exposure/color balance, composition, focus/depth-of-field and lighting. There are accepted standards for all these giving the images a standard by which to be judged (reason #4.). Images would also be judged on a scale of 0-20 on the treatment of the subject. This included things like posing and items that do not fall into the previous four categories. Though less objective, there are accepted guidelines in this area. The judge has up to five points that may given for excellence. The judge has a full range of 0-45, much greater than the effective range of today’s system (reason #5).

Judges would go to a special website where they would enter their scores. If a judge could not give an image a perfect score in any of the categories, they had to explain their score. All of this information – the scores and the explanations – were forwarded to the photographer. From every images submitted, the photographer received five critiques complete with comments on how to improve the image and their photography. This completes the feedback loop (reason #1.)

What I found interesting is that judges would pick up on different things. I had one image that scored moderately well, but each judge found something different I could improve on in the image. This competition made me a better photographer and I learned from every image submitted.
A typical result might look like this:

paige jones small
Exposure/Color balance (0-5): 4. Overexposed. Losing details in highlights on skin tone
Composition (0-5) 4: Head nicely positioned in the upper third, road through the middle is distracting.
Focus/DOF (0-5) 5: Good use of  DOF keeping the background soft
Lighting (0-5): 5: Nice lighting pattern. Ratio is good.

Subject treatment (0-20): 12 Nice movement on the lower half of the body. Hands look masculine, turn more sideways. Subject’s right hand appears out of nowhere. Fix the back of the shirt. Fix road in middle of the picture.  Add a vignette.

Final score: 30

The judges said their time commitment was not much more than a traditional judging session and they appreciated being able to do their judging on their own pace and schedule.  The judges also liked the system because they knew their comments would improve the photographer.

But what about merits? Our guild did not issue merits. What I would propose is issuing merits on a curve. The top 40% of the images receive a vote for a merit. It takes a majority of the panel to make the merit. If you have five judges, three of the judges would have to score the image in their top 40%. This way the judge is always focused on creating great feedback and not, “is this a merit image” and we no longer have the problem with cavernous distance between 79 and 80 being too great (reason #3.)

PPA has taken steps to improve the competition experience – digital submissions, live streaming and text notifications to name a few. Now it is time to say goodbye to the days of analog and utilize technology to make our competition something meaningful to all who enter.

The top five reasons we need a new competition.

PPA’s (Professional Photographers of America) photographic competition was created in a time before the Xerox copier and the pocket calculator by men leaning over a light table peering into the depths of a 4×5 transparency with an 8x magnifying loupe. Necessitated by having only one copy of the image and equipped with only pencil and paper the creators of our competition did the best they could. Technology has moved on yet our judging remains stuck in the previous century. Below is the top five reasons why we need to change our photographic judging.

In my next entry, I will propose a new system of judging that remedies these problems.

5. The scale is too small

4. There is no standard by which images are judged

3. The difference between 79 and 80 is too great

2. The overpowering judge

1. There is no feed back loop
Number 5: The scale upon which an image is judged is too small.
I know what you are thinking, “100 points is too small?”
When was the last time you saw an a score of 58? Or a score of 35? The vast majority of images score in a narrow 15 point range between 73-88. Yes, there are the occasional scores in the 90s. But the judges are working in a 15 point range and that is not enough range.

Number 4: There is not a standard by which we are judged.
Yes, we do have the 12 elements of the merit print. Unfortunately, we just pay lip service to those. How often do you hear a judge say that a print does not have a style? Years ago, judges were trained to start with 100 points, and to deduct points in every element as necessary. Now the judges look at an image and determine by their own internal standards as to what range it should go into. This often emotionally biased decision is evidenced by the difference in scores from competition to competition and from judge to judge and year to year. I could show you images that merited 10 years ago that would not merit today. Did the “12 elements” change?  No. We have no standard. Without a standard by which images are judged, we are nothing more than a beauty pageant contestants in draped loosely in revealing clothing trying to catch the eye of the judges with our over-Photoshopped bodies and pithy titles.

Number 3: The difference between 79 and 80 is too great.
80. The magic number for a merit. 79 – the infamous “we like your image but not enough to merit it.” It takes a lot more work to go from 79 to 80 than it does to go from 78 to 79 or even 80 to 81. Nowhere else in the grading scale is there such a gap between the numbers than between 79 and 80.

Number 2: The overpowering judge
Imagine what sports like diving or figure skating would be like if the judges had to agree on a score?  I cannot think of another place where the judges must concur.  We have all watched print judging were one judge will not give up on a image. We have seen great images drug into the dirt and we have seen weak images lifted up because of one judge on the panel. If you wait until late in the day on the judging, you will notice the other judges just capitulate to the overpowering judge. One person should never have that much effect on the final score.

Number 1: No feedback loop
PPA and its affiliates all promote competition as a way to improve your photography. When my image gets a 77 and is discarded without discussion, all I learn is that the panel did not like my image. Really, I do not care if you do not like my image. Tell me HOW TO BE BETTER! Tell me how to improve my photography.  Just telling me “no” does not help me improve. Yes, PPA offers video critiques and often competitions will make judges available on the day after judging. I purchased a video critique – once. For 15 minutes two judges that were not on the panel rambled on aimlessly about the images providing no constructive information. I have cornered judges about my image(s) that received a 76 that was not hanging in the display.  “I don’t remember that one.”  And if you are not present to talk to the judges post-mortem, then you are out of luck. If PPA is going to“sell” competition as a way to improve my skill then they need to provide some feedback – preferably without charging me again – that will actually help me.

I believe it is wrong to complain without offering a solution.  My next post will have my recommendations for a new competition.

I am Insulted

Our own organization continues to degrade our image.

Is this really what PPA thinks a professional photographer looks like?  Imaging USA is supposed to be the premier educational event for professional photographers, not a cruise ship port of call.  If this is what PPA thinks professional photographers look and act like, I think I need to find another professional organization.


The magic background change family portrait

Kimberly brought the family in for a family portrait.  Like most everything, I now shoot it on green screen.  We didn’t discuss much about the background, so I picked a scene from a recent trip to Colorado that I thought would be appropriate from our conversation during the session.  Kimberly looked at the result, and said, “Wow, I love it.  I want it.  But I was hoping for a Christmas theme.”  No problem!  Find a Christmas image, drop it in PhotoKey and voila’ – instant Christmas photograph.

Family green screen background change

Kimberly on an alien planet

For those who have been looking around, you’ll notice that I’ve been having some great results creating with my chroma key (green screen) set up.

Kimberly came in and wanted something different for an ad.  I asked her if I could get really crazy.  Sure.  So I put her on an alien planet with a ray gun in her hand.  Keying done with PhotoKey 5 from FxHome.


Kimberly on alien planet
Kimberly on alien planet

Lil’ Buckaroo

This cute little guy came in wearing this cute little outfit.  He was wandering around making it a little hard to capture the photograph.  We put him on a bench to see if he would stay in one place if he was seated.  As soon as we put him up there, I had this vision of this picture.  The saddle, hay bale and background were all added later.

Return to FosterPhotographicArts.com

lil buckaroo
lil’ buckaroo

Infant and Father

I admit, I am not frequently asked to photograph infants.  I don’t really know why.  Probably because I don’t market the segment heavily.  But the great-grandmother of this baby called to set up this session.  She knew exactly what she wanted.  Fortunately, the little one cooperated long enough for us to get the image.

A shirt less father holding a bare bottomed infant.
Father and Infant

Four Generations Restored

I love this image.  Part of the attraction is the very skilled manner in which it was photographed.  Part of it is that you just do not see four generation pictures that are 100 years old.  Life expectancy was not that great a century ago.

This was printed on a type of photographic process that copies very poorly.  It just shimmers and there is only one way to photograph this and get any detail out of it.

Restoration of 100 year old photograph
Restoration of old photograph with four generations

Adding Members To Your Family Portrait

I have been meaning to add this one to the blog for awhile.

The Musgraves contacted me about photographing their family portrait.  This is a large, extended family with children and grand children.  They had picked a specific time and told everybody to be here.   But like all large family portraits, there is always someone who can’t make it – no matter how far in advance you schedule things.  Fortunately we knew this when I photographed the large group and left room for the people we would add later.   I would photograph the two members that were absent a couple of weeks later, and thanks to digital technology, added them in for a complete family portrait.

blog zero

blog zero