Giving it your best shot
We reveal what the Wildlife Photographer of the Year judges are looking for
The Natural History Museum’s Wildlife Photographer of the Year competition is the most prestigious of its kind. Chair of the jury, and former BBC Wildlife editor, Roz Kidman Cox reveals what makes an entry catch the eye. Why is this competition important?
For photographers of wildlife and environmental subjects, it is the most renowned competition in the world, with a long history of rewarding the very best individual pictures and stories. Having pictures placed in the top 100 can help make careers and reputations, and for professionals, the reward goes beyond financial, bringing huge international exposure. That value is immense for photographers motivated by the desire to see coverage of the stories their images carry.
Owned by the Natural History Museum – an institution with a mission to create advocates for the planet – the competition is itself an institution. Both a photographic art exhibit and a story-telling platform, with a tale attached to every image, its reach is both huge and continuous through the year. As well as a major exhibition at the museum, there are exhibition sets touring the world and commemorative books in several languages. The competition also brings together a community of photographers, providing creative inspiration and moral support.
In a nutshell, what are judges looking for?
Originality. That can mean fresh ways of looking at familiar subjects as much as new ones or surprising situations. The emotional impact or resonance of a picture is also important. But on the international jury, that can differ among the judges, depending on their visual knowledge and background and also their emotional history. Differing reactions can be inf luenced by culture as much as experience.
Among thousands of great shots, what makes an image stand out?
Immediate impact can be important, but that may not last through the subsequent three to four rounds of judging. So, increasing the contrast to catch the eye is not the answer. After the first rounds, it is fascinating to find out if the judges have seen an image that stands out as a potential overall winner. Rarely do they all have the same choice. It is also fascinating how the impression an image makes can grow with looking, whether resulting from the beauty of form and balance, its underlying emotive power, or both.
Over the years, what images have really stopped you in your tracks?
For me, the test is lasting power – whether I get the same pleasure every time I look at the picture. That can be a mixture of
marvel at the wonder of the subject or scene, the design perfection, or both of those, or it can be a reaction to the emotion or thoughtprovoking impact of the image. There are many pictures that do that for me, so it’s hard to pick out just a few, but ‘Spirit of the Mountains’, ‘True Love’ and ‘The Sacrifice’ ( all pictured here) are good examples.
Can you tell if images are the result of time and skill or luck and timing?
There are always the ‘how on earth did they achieve that?’ pictures, and camera-trap and remote region images will obviously have taken an enormous amount of time and planning. But it is the end result that is judged, not the effort. Many behaviour pictures result from serendipity, but a photographer has to be primed and ready to catch those moments – and catch them perfectly.
What tips can you give when submitting images of well-trodden subjects?
Are you familiar enough with what has already featured in the competition to see your image as special enough to be better? Also, it’s worth getting a second opinion from an honest critic.
What are the key do’s and don’ts when selecting an image to enter?
Don’t select your entries in a rush. Review your selection afresh several times and get a second opinion, if only to verify your own. Make sure you have the RAW files to match. And don’t enter a photo that has already been placed in another competition.
What happens when the judges disagree?
As with all competitions, it’s the majority decision that stands, though discussion can swing the balance. This does mean that winners can be the result of compromise.
Are any new categories planned for the 2021 competition? If so, what will the judges be looking for?
Yes, including two very important ones, given our planetary emergency: Oceans and Wetlands. Images should have something to say – symbolically or literally, whether through broad strokes or specifics, beauty or impact – about the importance and functions of freshwater and marine ecosystems and their living components. So, as well as the aesthetics, think about the message that can accompany a picture.