The Score Keeper
There’s a subtle choreography here — one man aiming downrange, the other poised with a device held high, recording or perhaps timing. The scene is unmistakably a shooting range, but the moment is more about the roles that orbit the act itself. This isn’t just about the shooter; it’s about the infrastructure of precision, measurement, and discipline that frames the sport.
Compositionally, the photograph works well with its layered focus. The viewer’s eye moves naturally from the strong diagonal of the man in white, up his raised arm, and then across to the figure in dark clothing aiming towards the target screen. The two red handprints on the barrier form a curious counterpoint, injecting an almost theatrical note into an otherwise procedural scene.
Technically, the exposure is handled deftly. We have a wide tonal range without crushed shadows or blown highlights, even in a bright outdoor setting. The colour palette is muted but clean — natural greens in the background, neutral tones in the clothing — allowing the few saturated elements, like the handprints and ear protectors, to pop.
The shallow depth of field keeps the focus squarely on the interaction between the two figures while softening the busy foliage beyond. It’s enough blur to isolate, but not so much that the viewer loses the sense of place. Sharpness is particularly good where it matters: the folds in the white shirt, the texture of the holstered pistol, and the curve of the raised hand.
What I appreciate most is the photographer’s choice of viewpoint. Standing just behind the scorekeeper puts us in the position of an observer who’s not entirely passive. We’re close enough to feel the tension of the moment, yet far enough removed that the image remains documentary rather than participatory.
It’s a reminder that in any competitive or technical discipline, there’s always someone in the background ensuring the rules are met, the results are fair, and the moment is recorded — an unseen arbiter whose role is as essential as the action itself.
