Note: Images are presented in the same sequence as the contest entry. I’ve not entered a photography contest in years. I’m not interested in the photojournalism contests, as many of them have ethically compromised themselves and none of them are widely seen outside of the photojournalism industry. The pure photography contests hold no interests to me for similar reasons. So that leaves me with the Communication Arts Photography Contest, as it’s seen by those outside of both the photojournalism and photography markets. Entries are limited to five images for a story or sequence, which is a tough edit. The entry fee is high at $90 per entry (for a sequence), which is probably good as it limits the amount of entries. I’ll include the five images entered as well as some also-rans below.
The images are slightly cropped, as I sized them for a HDTV screen. The toning is my version of Kodachrome (or at least as close to it I can get), which is and remains the proper version of all color photography.
The images are made with Sony a7R IV’s, with either a 35mm 1.8 or the 55mm 1.8.
The thinking behind my coverage of the 2024 Democratic National Convention was exactly like the ideas behind all of the political coverage that I’ve done over the past forty years, which is to say, not much.
I’m not here to make an image of “record”. That’s why we have wire photographers. They’re really good at what they do. I’m not good at what they do. It would be stupid to try and compete with them. So I might not have “THE” moment, but maybe I can find “A” moment. The hope being, given a little time for reflection, the image can become an “Aha” moment.
As a journalists my job is to observe. As a photojournalist my goal is to find something I think is interesting. Make an image that does it justice and then share that image (originally in print, now wherever) in the hope that others will find it interesting as well.
That doesn’t mean I’m willfully ignorant to the politics and the players behind them. Research and knowledge is all well and good as long as you can put it all aside when you walk into the room. The trick is to allow your mind, or your eye if you please, to work unabated.
The knowledge is still there percolating just below the surface, but on the back burner, which allows your gut to really get at it.
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