Entries to this year’s Photography Annual jumped 8.5% to 9,328—in line with pre-recession levels. When looking over this year’s selection, several judges commented on a perceptible shift in the work.
“I was surprised that the biggest proportion of good work was art photography. I expected more of a balance with photojournalism,” said juror Connie Phelps. Juror Dominique Malaterre concurred, “It’s a strong sign that the borders between commercial art and fine art are blurred.”
Juror Scott Dadich liked some of the work that had some of the color drained from it. “They were obviously manipulated in post, but I thought to good effect—especially some of the work in landscape and travel photography.”
Juror Sakol Mongkolkasetarin was surprised by the amount of entries in the advertising category that used a lot of digital work. “I would hope future photographers will know their rich history and not disregard it as they experiment with filters in Photoshop,” he said.
When asked where the field is going, Dadich replied, “I think we’re seeing a little more overlap into the world of illustration. There’s a bit of a blurriness between the two as photography becomes more inextricably tied to digital processes.”
“Interesting pictures capture a curious or unusual thing. Excellent photographs, on the other hand, capture a thing in a curious or unusual way.” —Stephen Doyle
Juror Stephen Doyle continued the thought. “Once Steiglitz and Weston experimented with making allusions to paintings in some of their photographs. Now that photography has become so prevalent, it’s riveting to me that some artists are personalizing their images in this way. And, by the way, the ones I noticed were beautiful, curious and compelling,” he said.
Some jurors had thoughts on how photographers might expand their businesses. “I see two alternative revenue streams in stock and fine art,” said Mongkolkasetarin. “There’s nothing wrong with re-inventing yourself. Like any financial portfolio, you want to diversify your work.” “Directing commercial spots for advertising is a natural extension of photography and the evolution of digital motion technology will accelerate this process, allowing photo and TV shoots to be combined easily and cost-effective,” Malaterre said.
This year’s jurying began on Sunday morning, April 24th at our offices in Menlo Park, California. We worked in two large conference halls especially built for our competitions, each equipped with projectors for slide and digital entries and six rows of tables for tear-sheets and proofs.
The jurors worked in two groups of three; I was the sixth judge during the screening process. All but the smallest categories had been divided so each team screened half of the entries submitted. The jurors alternated between viewing a round of slides or digital files and then a set-up of print entries.
“The photo-journalistic field is becoming more and more personalized, in depth, project-oriented.” —Connie Phelps
The final voting took place on Monday with all five jurors working together. Print entries were again spread out on the tables. Two paper cups, one white for “in,” the other red for “out,” with slots cut in the bottom, were placed upside down to the right of the pieces. The jurors voted by putting a colored tile into the bottom of the appropriate cup. The different colored tiles allowed us to make sure that every entry was voted on by every juror. Finalists on slides and digital files were voted on by each juror checking “in” or “out” on scoring sheets.
Judges were not permitted to vote on projects they were directly involved in. When a judge’s piece was in the finals, either Jean Coyne or I would cast the fifth vote.
One hundred eighty-nine entries were chosen, representing the work of 167 photographers. Decisions on size and placement were based on reproduction evaluations, pacing and the need to control press channels and ink usage for web printing.
I would like to thank our jurors’ conscientious efforts in selecting the 46th Photography Annual. —Patrick Coyne ca
Scott Dadich joined the staff of Texas Monthly as associate art director in May 2000 and was promoted to art director in May 2001. He was named creative director in October 2004. A Lubbock, Texas, native, Dadich has a bachelor’s degree in fine arts from Texas Tech. He was previously the art director of Texas Tech University Office of News and Publications, and the senior designer at Price Communications Group. In the last five years, Dadich has received over 25 national design awards from groups such as the Society of Publication Designers, the City and Regional Magazine Awards, and the Council for the Advancement of Secondary Education.
Principal and creative director
Stephen Doyle is principal and creative director at Doyle Partners, a New York-based graphic design, communi-ca-tions and marketing firm. Founded in 1985, notable projects include the brand design, packaging and in-store presentation of Martha Stewart Everyday in Kmart (with over 2,500 package designs for this 1.4 billion dollar brand); and new identity programs for Barnes & Noble, the St. Regis Hotel and Tishman Speyer. Stephen Doyle brings his background in editorial design to play in some unlikely places. ID magazine reports that he “rejects fashionable styles in favor of solid, functional approaches rooted in concept, not adornment…all without losing his sense of humor.”
Dominique Malaterre, Tilt, is a Montréal, Canada-based photographer. She moved from France to study architecture and then art history. Increasingly drawn to photography, she decided to go to school and study photography. It turned out, photography was a perfect fit. Her career is marked by numerous awards and publication in Applied Arts, The Art Directors Club, Communication Arts, Grafica, Lux, Publicité Club, Studio magazine, Woman of the Year in Communication and Photographer of the Year. She also teaches at the Université du Québec à Montréal (U.Q.À.M.), directs TV commercials and her personal work is exhibited regularly.
vice-president/associate creative director
Sakol Mongkolkasetarin (S¯a-k¯ol Mông-k¯ol-k?as-?e-târ-in) is a 1990 graduate of the Visual Communications Design Department at California State University, Long Beach. Born in Bangkok, Thailand, and raised in Orange County, California, he started his career in advertising as an art director at Cochrane Chase Livingston & Co. He went on to work at DGWB Advertising, Hal Riney & Partners, as well as starting his own agency, Acme Advertising. His work has been recognized by Communication Arts, The New York Art Directors Club, The One Show, D&AD, Clios, Graphis, Archive, the San Francisco Show, the Los Angeles Beldings and various other award competitions. Currently, Sakol is vice-president/associate creative director at BBDO West where he resides in San Francisco with his wife, Violet and daughter, Stella, who love him enough to take his name.
senior design editor
National Geographic magazine
Constance Phelps is senior design editor for National Geo-graphic magazine. She is responsible for the look and feel of many of the editorial pages in the magazine as well as the Special Newsstand Collector’s Editions. She also acts as a consultant to 26 art directors of the foreign editions of the magazine. Connie grew up in the Washington, D.C. area. Her undergraduate background was from the University of Maryland in Art & Sciences, specializing in fine arts and architectural design, and graduate courses in journalism, photography and visual communications from George Washington University and the University of Missouri. She has designed over 800 stories for the yellow-bordered magazine, including two complete issues (Australia and Mexico).