The World Photography Organisation and Sony Middle East and Africa are delighted to reveal Vinaya Mohan as UAE’s National Award winner for the Sony World Photography Awards 2024.

The National Awards program is an initiative set up by the World Photography Organisation and Sony to support local photographic communities around the world, with 54 countries taking part this year.

Over 395,000 images from over 220 countries and territories were submitted to the Sony World Photography Awards 2024.

Vinaya Mohan was anonymously selected by judges for her photograph , Mookambika Gulikan Theyyam entered into the category of travel. Gulikan Theyyam (or Guliga Theyyam) is a figure worshipped as Lord Shiva. In the Karnataka region, this deity is worshipped as the Hindu Culture’s Guliga Daiva. This was a challenging low-light photographic situation, as fire was the only light source. The God Man jumps into the fire and moves all the time, which makes it very difficult to take a clear photograph..

Vinaya Mohan: Photography, for me, is not just a hobby; it is an urge that drives me to explore the nice moments. My lens is not merely an instrument; it is an extension of my perspective, through which I express the boundless emotions that surround me. Photography has opened my eyes to the world’s vast tapestry of nature, cultures, colors, and emotions. It taught me to appreciate the little moments that often pass unnoticed and to cherish the grandeur of nature’s masterpieces.

Commenting on her win, Mohan said, ”Thrilled and grateful for winning this competition! It’s a surreal moment, and I’m very happy for this recognition. It’s a rewarding acknowledgment of my artistic journey. The joy is beyond words, fueling my passion to capture meaningful moments. This success inspires me to keep pushing my creative boundaries and pursue excellence. Thanks to everyone who supported me on this incredible ride and believed in my photography”.

As UAE’s National Award winner, Vinaya Mohan receives Sony digital imaging equipment and will be included in the Sony World Photography Awards exhibition and book.

The overall winners in the Student, Youth, Open and Professional competitions of the Sony World Photography Awards 2024 will be announced on 18 April 2024 and will go on display as part of the exhibition at Somerset House, London (19 April-6 May 2024). For more information about upcoming announcements and winners please visit www.worldphoto.org

This year’s National and Regional Awards winners are:

EUROPEAN REGIONAL AWARDS

LATIN AMERICA REGIONAL AWARDS

PRESS CONTACTS
FOR FURTHER INFORMATION, PLEASE CONTACT:
Polly Brock / Vanda Ivančić on media@creoarts.com

ABOUT SONY WORLD PHOTOGRAPHY AWARDS

Produced by the World Photography Organisation, the internationally acclaimed Sony World Photography Awards is one of the most important fixtures in the global photographic calendar. Now in its 17th year, the free-to-enter Awards are a global voice for photography and provide a vital insight into contemporary photography today. For both established and emerging artists, the Awards offer world-class opportunities for exposure of their work. The Awards additionally recognise the world’s most influential artists working in the medium through the Outstanding Contribution to Photography award; the acclaimed photographer Sebastião Salgado is the 2024 recipient of this award, joining a distinguished list of iconic names including William Eggleston, Mary Ellen Mark, Martin Parr, Candida Höfer, Nadav Kander, Gerhard Steidl, Graciela Iturbide, Edward Burtynsky and Rinko Kawauchi. The Awards showcase the works of winning and shortlisted photographers at a prestigious annual exhibition at Somerset House, London. Our hashtags to follow are #SonyWorldPhotographyAwards and #SWPA2024. worldphoto.org/sony-world-photography-awards-exhibition

ABOUT WORLD PHOTOGRAPHY ORGANISATION

World Photography Organisation is a leading global platform dedicated to the development and advancement of photographic culture. Its programming and competition initiatives provide valuable opportunities for artists working in photography and help broaden the conversation around their work. The Sony World Photography Awards is World Photography Organisation’s principal programme. Established in 2007, it is one of the world’s biggest and most prestigious photography competitions; celebrating the work of leading and emerging practitioners and attracting tens of thousands of visitors annually to its exhibitions worldwide. World Photography Organisation is the photography strand of Creo, responsible for delivering initiatives and programming across three sectors: photography, film and contemporary art. Follow the World Photography Organisation on Instagram (@worldphotoorg), Twitter (@WorldPhotoOrg) and LinkedIn/Facebook (World Photography Organisation).

CREO

Creo initiates and organises events and programming across three key strands: photography, film and contemporary art. Established in 2007 as World Photography Organisation, Creo has since grown in scope, furthering its mission of developing meaningful opportunities for creatives and expanding the reach of its cultural activities. Today, its flagship projects include the Sony World Photography Awards, Sony Future Filmmaker Awards, PHOTOFAIRS Shanghai, Photo London and PHOTOFAIRS New York. Working in partnership with Angus Montgomery Arts, Creo helps deliver the group’s ventures, comprising some of the world’s leading art fairs. Taking its name from the Latin for ‘I create’, it is in this spirit that Creo sets out to empower and give agency to creative voices. www.creoarts.com

SONY GROUP CORPORATION      

Sony Group Corporation is a creative entertainment company with a solid foundation of technology. From Game & Network Services to Music, Pictures, Electronics Products & Solutions, Imaging & Sensing Solutions and Financial Services – Sony’s purpose is to fill the world with emotion through the power of creativity and technology. For more information, visit: sony.com/en

SONY CORPORATION

Sony Corporation is responsible for the Entertainment, Technology & Services (ET&S) business in the Sony Group. With the vision of “continuing to deliver Kando and Anshin* to people and society across the world through the pursuit of technology and new challenges,” Sony will create products and services in areas such as home entertainment & sound, imaging, and mobile communications. For more information, visit: www.sony.net * Both Japanese words, Kando means emotion and Anshin has various meanings such as peace of mind, reassurance, reliability and trust.

About Sony Middle East and Africa:

Sony Middle East and Africa FZE is a 100% subsidiary of Sony Corporation and is the regional headquarters for the Middle East and Africa regions. The company is engaged in the business of Sony Consumer Electronics, Mobile Electronics (Car Audio), broadcasting and professional products and Computer Entertainment (PlayStation) products in more than 40 countries in the region.

Apart from stock operations in the Jebel Ali Free Zone Establishment in Dubai, Sony Middle East and Africa leads execution of various logistics, sales, marketing, advertising and customer services activities through its business partners. 353 accredited third-party service centres reinforce Sony’s presence in key markets in the region.

For media inquiries, please contact:
Sony Middle East and Africa FZE
Ria Tharakan
Email: ria.tharakan@sony.com
BPG Group      
Sai Talwalkar
Email: sai.talwalkar@bpggroup.com

For a decade and a half, Capture magazine has been on a mission to help discover Australasia’s very best emerging talent. During this time, the competition has uncovered and helped boost the careers of countless emerging photographers from Australia and New Zealand. The call for entries in the 16^th year of Australasia’s Top Emerging Photographers 2024 is open. Enter now! The compeition closes 17 March 2024. Below is a collection of the very best advice provided by the judges from previous compeitions.  

The judges

Helping decide the winners, place-getters, and Top 10 and Top 20 entries across the nine categories is no easy feat. As such, we rely on the wisdom, experience, and expertise of some of the world’s very finest photographers and industry experts. With such impressive credentials, our judges are suitably qualified for the important role they take on. But don’t take my word, scroll down and have a look at who was on board to help judge the 2022 competition. This year, we’re thrilled to have 48 luminaries from the around the world on the judging panel. Follow this link to see the full list.

Feedback matters

Each year, we ask the judges to provide feedback and constructive criticism on the categories they judged so that we can share this invaluable information with you. It’s not designed to provide a warm and fuzzy feeling, but instead be helpful to those about to enter the competition.

While the tips are broken down by category, the advice is likely to be applicable across multiple genres of photography.

Winning advice

ANIMAL

1. It’s challenging to present a narrative in three photographs, but the winners did just that.

2. A number of submissions felt more like series or sequences, rather than a portfolio. This narrowed their opportunity to stand out in an exceptional field.

3. Shades of difference separated the winners. Often it came down to what the photographer brought to the situation, the level of difficulty, consistency in the approach, and editing of the work.

4. When curating a portfolio, you want to choose images that work cohesively together to either tell a story or that visually complement each other. I saw a lot of excellent single shots in this category, however there were many instances where the other images chosen were either lacking in technical ability or did not support the narrative.

5. It pays to run through a mental checklist when editing images for competitions. Aim to remove all visible dust spots, ensure the focus sharp (especially the eyes), aim for natural editing, avoid heavy handed darkening of backgrounds, and check that you haven’t over sharpened.

ARCHITECTURE

6. We are not here to judge architecture; we are more interested in the skills and innovative vision that a photographer can bring to the assignment. Anyone can photograph an artwork, but we want to celebrate those photographers that can turn anything into an artwork.

7. Successful entries demonstrated a consistency of approach and execution across the portfolio, irrespective of the specific location.

8. A good architectural photograph has to show the building form in a strong and memorable composition. Too many photographers are taking artful details which describe their skill, not the architect.

ART

9. One thing I noticed was that some entrants attempted to replicate images that have been successful in previous years. This is a category that allows for experimentation, so experiment! Try new ideas or put your own spin on old techniques. Judges will always take note of something different and new, even if it isn’t technically perfect, over a perfectly executed image that has been seen many times before.

10. The most compelling images were those demonstrating innovation and originality, and the ability to execute a concept.

11. Art is intensely personal and highly subjective, but the ultimate goal is whether the viewer wants to keep coming back to look at it and whether it stays in their mind.

12. To me, art is not about a technique, it’s about creating work that tells a story or at the very least evokes an emotion. It should challenge the viewer, not just try to play the role of decoration. I think a lot of the entrants have mixed up using an alternative process as meaning art.

13. The art category is a chance to show who you are as a photographer, not what techniques you can apply to imagery.

14. A camera is just a tool. Just let your imagination and creativity take over; it’s all about taking risks.

15. Art should invite the viewer to think deeper into the image and unravel stories, intended stories as well created ones.

16. The stronger images in this category were as diverse as the journey from imagination to raw reality, exploring both hidden worlds and those lost in plain sight. It is important that technique is not distracting, but complements the final presentation.

17. Each portfolio chosen demonstrated a high level of cohesiveness and a considered concept across each of the three images.

BLACK & WHITE

18. Many entries were just three almost identical versions of the same photo. If you’re given three entries in a competition, take advantage of that opportunity.

19. Black and white photography isn’t just desaturated colour; it’s tone, form, shape, texture, and subject all combined so that colour just isn’t necessary. Watch your histograms and don’t clip your blacks and whites.

20. Black and white calls for supreme understanding of tones: just because a camera can capture a seemingly infinite amount of tonal information doesn’t mean we can’t show restraint in our images.

21. If you can see in tones then you’ve won half the battle. Don’t just desaturate an image; go out and shoot with the intention to capture the contrast, tone, and texture as part of the composition. Once this is mastered you can worry about the subject.

DOCUMENTARY

22. Work to have a strong thread that holds the series of images together: this could be a place, person, issue, or concept. Returning to the project multiple times over a period of time and narrowing the work along the way is the foundation of doing documentary work. For the final series, avoid redundancy. Each image should further the story, not repeat something you have already communicated in other photographs.

23. The most successful stories displayed not only terrific photography, but taught the viewer something about the subject’s experience. There were stories of both joy and despair, told equally well and from each photographer’s particular visual perspective. For me, seeing how photographers see is one of the great pleasures as a judge.

24. A successful documentary essay draws the viewer into the lives or subject matter that you’re trying to convey. Choosing a story that you believe in is a great starting point. Consider linking images in a consistent style or approach, building the narrative over time. It’s more than a series of similar images created at one event. Considered work that shows a real sense of intimacy and connection to the story and people the photographer is working with is what I’m drawn to most.

25. I found the successful folios gave me a glimpse into the relationship the photographer had with their subject matter, allowing the viewer a true connection into what the photographer was feeling and wanting to communicate. A good documentary photographer has a story to convey and a critical eye for the subject. In some of the folios the ‘rawness’ of the imagery reinforced the subject matter to stylistically create an intimate ‘fly on the wall’ approach allowing relatability for the viewer to the photographer’s story.

26. A series of documentary images should give the viewer a glimpse into a special story, an insight into a larger picture, leaving you wanting to see more.

27. The top entries were evocative, considered, had a beginning, middle, and end, and the words that went beside them supported the work.

28. In some entries, individual images were beautifully composed, but did not gel for me as a series.

29. When it comes to documentary photography, the skill is your ability to present a pictorial narrative; the photographs should speak for themselves – the accompanying words should only elaborate…

LANDSCAPE

30. Regardless of where you go to make images, the most important tool you can ever take with you is your own personal vision and understanding of the world. Don’t just be a facsimile machine, capturing whatever is in front of you; learn to see, process and empathise with the environment around you, and then convert those feelings into a sophisticated and emotional response.

31. While there were many highly commended images demonstrating sound camera craft and very strong compositions, it was images that presented something ‘different’ and ‘new’ to the judge that were awarded. It was these images that stood out and captivated the judges’ attention.

32. The landscapes I found most engaging were of a lyrical and poetic nature. They were evocative, mysterious, and atmospheric without being cliched. There seemed a deeper, personal connection to the landscapes they were depicting. Finding the essence of a landscape involves spending time observing it, developing a relation to it, and then capturing its distinct elements.

33. What would often cancel a portfolio for me was there would be multiple formats and horizon lines all over the place that just didn’t work. Some images were overcooked in Photoshop, but I tried not to allow bad Photoshop skills to influence my estimation of the potential of the images.

34. A number of the images felt technique driven, and a lot of the techniques used were employing the old tropes. It felt to me the photographers were relying on a style. Numerous images felt like the photographers were making post cards, rather than looking for a connection to the landscape.

35. Technique alone will only take you so far. Combine it with mood, style, impact, and some narrative, or even simple aesthetic, and you have the recipe for strong and memorable imagery.

36. Interestingly, given our recent history of extreme weather events, there were very few images that reflected on climate change. Most were spectacular affirmations of nature’s beauty, rather than the disturbing realities unfolding in our landscapes. This might be worthy of consideration for future entries.

37. Some portfolios were let down by weak images in the set. Some individual images were so good that on their own they could have been winners. When viewing each portfolio, there had to be connection in the set.

38. The stand-out images weren’t only technically impeccable, they were emotionally evocative as well.

39. The qualities that rose to top of the landscape portfolios involved intentional narrative, unmistakeable visual impact, a sense of innovation in either the choice of subject matter or the presentation, joining thread or cohesive aspect of style, and, of course, consistent image calibre across all three images

40. While many of the entries were extremely competent and technically adventurous, they relied too much on the wow factor of tricky effects, over-saturated colours with landscapes that appeared all too perfect – like a series of screensavers. Some environments were visually complex with extraordinary colour palettes, but there was too much emphasis given to colour or abstract patterns which became the overall subject of the work.

PORTRAIT

 41. A great portrait should connect the viewer and the subject. As a viewer I should feel something about the person; I should feel as if there is some kind of narrative to the picture.

42. I love to see portraits that I can’t look away from. When an image can capture my attention and leave me with more questions than before I saw it, the photographer has done their job.

43. The challenge is to make three portraits of three different people or ideas, and do it in a way that reveals your style and vision in all three.

44. Portraiture isn’t about taking a likeness of someone, but creating an image that conveys the subject’s essence, or part of it. This can be achieved by understanding who you are photographing, communication with your sitter while shooting, and even the environment the sitter is in.

45. I still love to be challenged as to what a portrait actually is. A great portrait doesn’t necessarily need to be composed well, be technically sound, or even show your subject in the frame, it just needs to convey their soul.

46. The portfolios that stood out the most were from the photographers that connected with their subjects. A successful portrait image allows the audience to feel and think about that photograph and want to learn more.

47. I was drawn to the classic and to the unique, and most of all to the images where the subjects communicated with me.

48. It would have been nice to see people push traditional boundaries a bit more. A good portrait should tell an intriguing story about the subject.

49. There were submissions with definite winning individual portraits in them, but they didn’t rank because there were others in the series that clearly didn’t belong. Remember to be ruthless in your selection. One image might mean a lot to you, but if it doesn’t work with the others, it has to go.

50. A portrait can take many forms, there is however an x-factor quality in all truly great portraits. A sense that a revealing moment has transpired, been captured, and shared for all to see. Sometimes, it’s those in-between moments when photographing that can produce the most striking portraits.

51. A good portrait provides an answer. A brilliant portrait raises questions and makes us think.

52. Portraiture is a collaboration between two people – the photographer and the sitter. It is important to remember that for a successful portrait the subject’s real nature must be present, and this occurs when there is communication happening between the two.

53. Cohesiveness should be considered across all of the images within the portfolio. Each photo should be as strong as the next in the set, but still remain consistent.

SINGLE SHOT

54. I’m always looking for a strong ‘wow’ moment that makes me look twice. A single image needs to tell the whole story. I’m looking for something different with impact and strong composition.

55. The best photographers were able to capture a moment (of action or stillness) and transport the viewer into that moment.

56. Impact, emotional engagement, innovation, a clearly decisive moment, multiple layers of interpretation, and originality of perspective and presentation are some of the factors that allow an image to rise through the wider set beyond the solid necessities of technical prowess, design, and well considered composition that any highly awarded image needs to begin with.

57. For this category, immediate impact is key, coupled with originality and a display of technical understanding.

58. Images that make you stop, look, and wonder, while all executed with a high standard of editing and craft were the ones that caught my attention.

59. The best images offered the audience clever and well considered ideas delivered with flawless execution. Sadly, many other great images in this category didn’t make the cut simply because they were let down by average technique and execution. To be a great photographer, you really need to be good at everything, from concept to post.

60. Images that rise to the top tend to have strong graphic content and flawless technical execution. Photographs that show me something I haven’t seen before in quite the same way make an impression.

CLICK HERE TO ENTER

ENTER AUSTRALASIA’S TOP EMERGING PHOTOGRAPHERS

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Imagine this: you have 15 minutes in a professional photo studio to take as many pictures as possible, but you have to take them yourself…how many do you think you could take?

For me, it was 81. And it’s actually a lot easier than you would think, thanks to Say Cheese in South Lake Union.

Say Cheese is a do-it-yourself selfie studio created by Rina Kang, a Seattle-based dog photographer. Say Cheese is located at Say Woof, Kang’s permanent dog photo studio in South Lake Union. It’s the perfect way to get professional photos of yourself, you and your friends, a loved one or even your pup, without the pressure of posing in front of a photographer.

Kang has been doing photography since 2008, but she has specifically focused on dog photography for the past five years. She opened her first brick-and-mortar under the name Say Woof in Kirkland in 2019.

“My inspiration comes from the deep connection I feel between humans and dogs,” she told us in November 2023 when she was featured in our “Artist of the Week” series. “The unconditional love, loyalty and joy that dogs bring into our lives are incredibly inspiring. Additionally, I find inspiration in the beauty of nature and the unique qualities of each dog I photograph. It’s a privilege to capture these moments and share them with others.”

READ MORE: Artist of the Week: Rina Kang of Say Woof dog photography

While Kang is usually behind the camera and working primarily with four-legged subjects, she decided to launch Say Cheese in April of 2023.

“Say Woof is only for dog people,” she said, “and now we have Say Cheese, which is not just for dog people.”

Selfie studios like Say Cheese are a popular concept in places like Korea, she said, and since Seattle is a “very trendy city,” she decided we needed one of our own. She had the space. She had the equipment, so why not?

Kang said it was a slow burn for people to start discovering Say Cheese because she did not self-promote a ton when it began, and it all changed one day when a client came in and posted an Instagram Reel of their experience that took off.

Say Cheese can be used for many occasions, like friend photoshoots, couple photos, headshots, family photos, maternity photos, engagement photos, you name it. You can even bring your dog, too!

“It’s perfect for people who feel a little awkward with photographers,” Kang said. “Sometimes the photographer is expensive, it’s awkward, [there’s] pressure, but here, it’s much more affordable and fast.”

The process is simple. You book your session online. You arrive at the studio alone, with a friend or your dog, whatever you choose, and after a brief tour and explanation on how to operate the camera, you get 15 minutes to take as many photos as you can. You have a little remote you use to take the photo that then pops up on the screen to your left so you can see what it looks like.

There is also a mirror directly in front of you on the wall you can use to help set up your shots. Once your time is up, you get 10 minutes to pick all of your favorites. You can pick two that you will get printed out and put in a cute cardboard frame that says “Say Cheese,” and that’s it. And if you can’t just choose two, you can buy the entire digital file of photos for an additional $50.

Listen, I love a selfie as much as anyone. I take…a lot of pictures on the daily, but I honestly don’t take a ton of just myself. When Kang invited me to Say Cheese, I decided I wanted to use the opportunity to gather some cute, professional photos of me where I didn’t have sunglasses on or a drink in my hand, which is usually the content I get when I am out and about taking photos.

Kang said people, on average, take about 50 photos, depending. Being alone in the studio (without a dog, child or friend to add to the mix) contributed to my being able to take 81.

I have had professional photos taken of me before, and even though I am a very outgoing and confident person, it has always taken me a while to open up, no matter how comfortable and safe the photographers have made me feel. But at Say Cheese, after a couple of practice shots to get the flow of how it worked, I felt like I was able to dive right in without that added element of another person behind the camera.

And now, I have some stunning new headshots, a cute Instagram post and two professional prints I am able to give to my parents. A win, win, win in my book!

Say Cheese is open from 11 a.m. to 7 p.m. Monday to Saturday at 2215 8th Avenue, Seattle. Prices start at $95 for up to two people with a black and white or color background. Additional people or dogs are $20 each. You can book online.

Abby Luschei is Seattle Refined’s assistant editor and digital producer. She can be reached at aluschei@seattlerefined.com. Follow her on X, Instagram, TikTok and Facebook.