Evaluation criteria:

1. Seek out the message from within the image. Does it work for you? If not, why not? Watch for the photographer who has something to say and has said it with passion.

2. Does the image have an uncluttered main point of interest optimised by strong and simple composition? Are there distracting elements around the main subject or image perimeter which could have been removed prior to exposure or printing? Could an alternative composition, cropping or 'burning in' have improved this aspect?

3. Beware of the sterile 'technical exercise' where the photographer has produced a work of impeccable presentation, good composition, correct exposure and totally sharp throughout yet lacking that all important emotional content. See also point 1 above.

4. Is the quality of the image consistent with the type of photograph? Does the image portray a strong sense of 'design' where the photographer had ample time to consider technical aspects or was the subject more the nature of a Cartier-Bresson caught in a 'moment in time' where some technical flaws can be tolerated? Judge accordingly.

5. Has the photographer's use of light been to advantage? For example the landscape taken under early morning light rather than strong overhead middle of the day sun, the way soft light falls onto the face of the model or a play of light onto shimmering water. After all, photography is by definition 'writing with light'.

6. Has the photographer displayed skill in the use of a camera? Were the controls appropriately used to alter or optimise the image? For example use of slow shutter, wide or closed aperture to achieve an effect.

7. Has the image received correct processing whether digitally or traditionally crafted to the print stage? An image displaying poor camera exposure and subsequent flawed tonal range does not support an otherwise well-captured subject.

8. Is the treatment appropriate to the subject matter? For instance, has the application of sepia tone been used effectively on the old homestead. Does the partial colouration of an image of a flower assist in isolating the main point of interest? Does the infrared effect add to the mood of the subject?

9. Does the image have a fresh original approach or has the photographer used the same tired overused techniques and merely captured the classic cliché? Creative input by the photographer is vital in order to avoid the 'technical exercise' conveyed in point 3 above.

10. There will of course be a huge diversity of subject matter, styles and treatments to be presented for your opinion as a judge. Be fair and liberal in your approach particularly when assessing photographs which display content outside your own personal area of interest. Despite your differences, seek out what you consider the best work and give due credit.

Jim Mason, 8 Feb 2005