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
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
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.