Entries must originate as photographs (image-capture of objects via light sensitivity) made by the entrant on photographic emulsion or acquired digitally. By virtue of submitting an entry, the entrant certifies the work as his/her own and permits the sponsors to reproduce all or part of the entered material free of charge for publication and/or display in media related to the exhibition. This may include low resolution posting on a website. The exhibition assumes no liability for any misuse of copyright. Images may be altered, either electronically or otherwise, by the maker and artwork or computer graphics created by the entrant may be incorporated if the photographic content predominates.
1) Street (color and monochrome)
Street photography uses the techniques of straight photography in that it shows a pure vision of something, like holding up a mirror to society. Street photography often tends to be ironic and can be distanced from its subject matter, and often concentrates on a single human moment, caught at a decisive or poignant moment. On the other hand, much street photography takes the opposite approach and provides a very literal and extremely personal rendering of the subject matter, giving the audience a more visceral experience of walks of life they might only be passingly familiar with.
Street photography is a non-formalised genre of photography that features subjects in candid situations within public places such as streets, parks, beaches, malls, political conventions and other associated settings. Alternatively, the street photographer may seek a more prosaic depiction of the scene, as a form of social documentary.
It is a branch of realistic fine-art photography that records unposed scenes in public places (streets, parks, restaurants, stores,Â museums, libraries, airports; train, bus, and subway stations, etc.)
The primary subject is people, at rest or in motion, alone or withÂ others, going about the every-day activities of life (walking, sitting,Â standing, waiting, reading, eating, talking, listening, laughing,Â daydreaming, greeting, parting, working, playing, shopping, viewing art,Â sightseeing, etc.).
The emphasis is not on the subjectâ€™s personal identity, as inÂ portraiture. And unlike photojournalism, there is no news here, rather,Â the commonplace; although, the line between photojournalism and streetÂ photography is often blurry. Many of the best street photographers wereÂ photojournalists. Unlike travel photography, that aims to entice theÂ viewer to visit a certain place or to fondly remember it, location isÂ relatively unimportant, though busy cities with interesting architectureÂ are commonly seen in these works.
The primary emphasis is on capturing a fleeting composition, aÂ temporary arrangement of lines, forms, textures, and tonesâ€”balancedÂ within a rigid frame. While such photographs often document clothingÂ styles or automobile design, these details are subordinate to the artisticÂ elements; whereas, in strict documentary photography, content is moreÂ important than artistry. In street photography, the image can be sharp or blurred andÂ impressionistic. Many images feature strong graphic elements whichâ€”considered separatelyâ€”constitute interesting geometric patterns.
Consistent with their overwhelming interest in composition, many streetÂ photographersâ€”not allâ€”shoot with a black and white final image inÂ mind, eschewing color as a distraction. Another reason for this is theÂ generally-conservative nature of the discipline. The early masters areÂ revered and emulated, their styles and shooting techniques studied.
Some purists not only insist on shooting unposed scenes, they attemptÂ to compose entirely in-camera, without cropping. Finally, the tone ofÂ these images tends to be positive, celebrating life and its fleeting natureÂ in the very act of seeing and seizing and sharing momentary beauty and meaning with the viewer.
2) Landscape (color and monochrome)
A Landscape is a photograph of natural scenery. It may include evidence of man, people, animals, even part of the sea provided that none of these elements dominate the photograph.
A Seascape is a photograph of natural coastal scenery, a wave study, or a picture of the open sea, provided always that the sea is the centre of interest in the photograph. People, boats, man-made structures or other items of marine interest may be present but must not dominate the photograph. Large saltwater inlets are eligible.
Inland waters are included.
3) Portrait (color and monochrome)
A photograph of a person or persons that may range from a head study to full body length. This section includes candid photographs and formal portraits.
Captures the personality or essence of a subject. Not just a picture with a person in it. A “clinical” portrait might not attempt to reveal the soul of a person, but it still needs to capture something of that person’s uniqueness â€” or else it’s not a portrait.
Is staged. While portraits can be candid, even those tend to have some intentionality. The lighting, backdrops, and poses are important, even if they are ad hoc. (Or maybe especially when they are.)
Is commissioned. While this isn’t necessary in a literal sense, in a larger sense portrait photographs are made for the purpose. Someone â€” the subject, or the artist, or some organization â€” wants a portrayal of a certain person (or group of people). Even a street portrait of a stranger can fit, based on the photographer’s intention.
By the very existence of the term “group portrait”, clearly such a thing exists. One can also say “individual portrait”, but generally the implication of the term alone is that a single person is portrayed. However, if there are multiple subjects â€” the grandmother and granddaughter, for example â€” the picture isn’t automatically a portrait without some of the above.
4) Experiment (color and monochrome)
The PSA definition of Creative is “Altered Reality.” The image must obviously display a change in natural color, form, shape, or any combination of these three. Creative images are often montages (a blending or composite of multiple images). High Dynamic Range (HDR) images without further changes are not considered “altered reality.” The original image must be made by the entrant on photographic emulsion or captured digitally. All images must be original and may not incorporate elements produced by anyone else. Original images must be altered by the maker; artwork or computer graphics generated by the entrant may be incorporated, if the original photographic content predominates. Images may not be constructed entirely within a computer. It is necessary that the image’s core content be identifiable. Non-creative images are not eligible for this competition. Any subject matter is acceptable as long as the Altered Reality guidelines are followed
Creative or experimental photographs display a novel effect because of an unusual combination of objects and/or unusual viewpoint. Photographs in which the images have been modified during or after exposure by using an experimental technique are also eligible in Creative/Experimental sections. The photograph must always have a basic photographic image. Digital manipulation processes may be employed providing the original photograph was exposed by the entrant, including any textures used.
An image created in the author’s imagination beyond what is seen through the camera’s lens. This includes set up scenes, zoomed photographs, double exposures, etc. as well as images manipulated in various computer software programs. The final result must be all the photographer’s own work, including the original image.
5) Open (color) PRINT
In this theme we expect very various contents of ideas, that is characteristic for some mainstream of the modern photography artistic production wide world. Generally, we expect photographic works in some major thematic entities:
- classical landscape in associative and experimental way;
- colors, shapes, shadows as crucial element of the photography art;
- portraits, as precious sparkles of the life by all form and entities;
- photography works with some interesting details in the contest and crucial meaning of it;
- creative photographic research, as struggle for identity, spiritual an emotional space, creating the new document and sensibility of present time;
- macro and micro world that surrounding us, but stays invisible for many of us;
- photography that shows everyday reality of life, with specific moments of transience of human being. Logical connection between ambient and life in this ambient;
- all living world in all theirs aspects and phenomenons of many different shapes of life
Any pictorial treatment of a subject which contains the element of good arrangement of composition and reflects the interpretation of the photographer.
4) Open (monochrome) PRINT
In this theme, in genre meaning we expect, almost all as in the OPEN color theme, but given as a granted gift in monochromatic artistic frameworks. That is especially sensitive expressiveness and specific culture of the photography with admixture of nostalgia and patina that is tightly connected with pioneer period of photography art. That kind of photography is very often synonyms area simply called â€“ LIFE.
FIAP Definitions of Black and white photography (Monochrome):
A black and white image containing various shades of grey from black to white is considered to be monochrome w. A black & white work toned entirely in a single color will remain a monochrome work able to stand in the black & white category; such a work may be reproduced in black & white in the catalog. On the other hand a black and white work modified by partial toning or by the addition of one color becomes a color work (polychrome) to stand in the color category.
PSA Definitions of Black and white photography (Monochrome):
A monochrome print is defined as having no more than one color, but may be any single color.
i. A monochrome print is defined as having no more than two colors: monochrome plus one other color, or:
ii. A monochrome print is defined as having no more than one color, but it may be any single color.