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74 Was Generous

P e t e r E a s t w a y , G M . P h o t o g , H o n . F A I P P, F A I P P

8

The photo opposite was taken on Easter Island

through them, throwing them onto the rubbish

many years ago and, at the time, was one of my

heap. Yuck. Horrible. What was I thinking... Many

favourites. (The original is not nearly so contras-

of my old prints simply weren’t that good.

ty as this rendition.)

I entered it into the AIPP National Print

This print, unlike the others, stopped me in my

Awards, the forerunner of the current Can-

tracks, but not because I still liked it. Gone was

on AIPP Australian Professional Photography

the emotional baggage associated with the

Awards, and I clearly remember the score.

wonderful trip and the effort required to shoot

it. In front of me was a plain, rather boring print

Standing at the back of a darkened judging

And then I picked up my Easter Island tree.

room, with five esteemed judges and a panel

and all I could remember were Ian’s words: It’s

chairman sitting around an evenly illuminated

just another travel snap.

print stand, I held my breath as one by one they

He was right.

stood up to inspect my print. It seemed to take

So, why am I mentioning this? Well, entries

an age before they would carefully enter their

are open for the 2013 Canon AIPP Australian

scores, but I fully expected a Silver Award.

Professional Photography Awards. I have no

Well, no.

doubt that some entrants will have a similar ex-

The panel chairman read out the score: 74.

perience to mine later this year. (I might even

He then asked if a judge would like to make a

have it again!) And I hope that, in the fullness of

comment, to which Ian McKenzie (a past AIPP

time, it benefits them like it did me.

President and still an active member today) said,

“Well, it’s just another travel snap”.

prints that bombed in competitions that I still

like. Competitions are great because they put

A travel snap! Couldn’t the judges see the

Are the judges always right? I have some

print quality, the fact it was shot on a large for-

your work into context within the world, but it

mat 4x5” camera, the luminous nature of the

doesn’t have to be the only context.

light and the exotic location? Well, no.

Easter Island tree a 74. The print is crap, but I still

Flash forward five years or so and I am

I think the judges were generous giving my

cleaning out my studio. I find a bunch of old

have great memories of being at that location

prints and, being in a bit of a hurry, quickly flip

all those years ago.

Working Pro 214  

The official journal of the Australian Institute of Professional Photography.

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