Photography

Boss ladies: Local photographer organizes gala for women in business – The Daily Reporter

Boss ladies: Local photographer organizes gala for women in business – The Daily Reporter
Greenfield photographer Victoria Odekomaya greets guests at last year’s Boss Ladies Gala. This year’s event is coming up in March.

Greenfield photographer Victoria Odekomaya greets guests at last year’s Boss Ladies Gala. This year’s event is coming up in March.

Submitted photo

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Greenfield photographer Victoria Odekomaya greets guests at last year’s Boss Ladies Gala. This year’s event is coming up in March.

Greenfield photographer Victoria Odekomaya greets guests at last year’s Boss Ladies Gala. This year’s event is coming up in March.

Submitted photo

GREENFIELD – A Greenfield woman has turned her passion for photography into a career promoting female entrepreneurs, and an upcoming gala is expected to bring in thousands for a charity.

Victoria Odekomaya is a luxury photographer and brand strategist who strives to empower and inspire women in business.

Women wear a lot of hats, said Odekomaya, a married mother of two. With so many Indy-area women talented in everything from side hustles to manufacturing to large corporations, Odekomaya says she wants to capture images and help tell their stories so they can inspire others.

“I just want to get the word out there for women to be inspired, for women to be encouraged,” she said. “You know, ‘You’ve got this.’”

Odekomaya has lived in Greenfield about 12 years. Originally from Nigeria, she moved to the states as a student and got a job in drug development sciences. She pursued photography and filmmaking as a hobby for about 10 years, and around the time of the COVID-19 pandemic she knew she wanted to get more serious with her pastimes.

Laid off a little over a year ago, she realized it was time to start her own business. In 2022, she launched the Boss Ladies Campaign with the purpose of giving women a “celebrity photo shoot experience” to create images and videos for women to “level up their brand” and help them feel confident and empowered.

Based out of LiM Studios – her home in an eastern Greenfield neighborhood – Odekomaya provides clients with professional hair and makeup for a photo shoot, wardrobe styling, refreshments, a collection of images, and a feature in her magazine.

Additionally, Odekomaya organizes a gala every year to celebrate her clients and raise money for a charity. Last year, the first Boss Ladies Gala raised $10,000 to support Dove Recovery House for Women in Indianapolis.

This year, the gala is set for March 15 and will benefit Pink Ribbon Connection, whose mission is to provide free supplies and services to breast cancer patients and survivors across Indiana. The funds will go toward free mastectomy bras, prosthesis, post-surgical garments and wigs.

“We are grateful to Victoria and are excited to be part of such an extraordinary gathering to support the work we do to assist breast cancer patients at any stage of their journey,” said Dori Sparks-Unsworth, executive director of Pink Ribbon Connection.

Odekomaya said she was thrilled with last year’s gala success, and is hoping for another $10,000 to be raised this year for Pink Ribbon Connection. She plans to benefit a women’s charity every year, and is still seeking sponsors, auction items and people that want to attend the event. Every ticket earns a credit with her photography business as well.

Odekomaya said her goal is to help small business owners be known and heard. Her website encourages women to “stop being the best kept secret” in their industry.

“I feel like they don’t know how to (market themselves),” she said. “There are women who have no idea how to do this… don’t know how to be strategic about it, to be intentional. People won’t patronize or walk with you if they don’t know you’re there.”

One of her clients, Gabie Benson, is a Greenfield native who now lives in McCordsville. Benson launched Sprout Fundraising and Consulting in 2023, working with nonprofits both locally and nationally.

Benson said she’s known Odekomaya for years, and when she showed up for her photo shoot, Odekomaya turned her tough day around. She was thrilled with the images that came out of the shoot, and was glad to connect Odekomaya with last year’s gala beneficiary.

“I’m so proud of what Victoria was able to create with the first year of the event,” she said in an email. “I know this year’s gala will be an even bigger success.”

Jill O’Boyle is a burnout recovery coach for high-achieving women, and her office is based out of McCordsville. She reached out to Odekomaya for photos and to promote her business.

“She captured my fun, outgoing personality but also showed imagery to support my past story of burnout and stress, which created a visual story that the audience can relate to,” she said, adding that she would recommend any woman business owner to consider the business.

O’Boyle said last year’s gala was a fun way to celebrate and empower women in business while also benefiting a good cause.

Odekomaya said it’s powerful to get women together for a red carpet event.

“That’s what we do – we’re always giving, always loving; it’s great to get women together to have fun, enjoy, network together and also raise funds for an organization,” Odekomaya said. “It’s just an incredible opportunity.”

In Xavier Scott Marshall’s black-and-white imagery his family and friends play religious figures throughout colonial history

In Xavier Scott Marshall’s black-and-white imagery his family and friends play religious figures throughout colonial history

One look at Xavier Scott Marshall’s photographs and you’ll become engulfed in his staged world. Another, deeper look, and you’ll realise that this world is a cultural and aesthetic reconstruction. Born and raised in New York and across the United States, to Trinidadian parents, the photographer can trace his love for imagery back to early childhood. “I was around eight, and by the time I got to high school, I started taking darkroom courses.” And today, he boasts a deep familiarity with both his process and subject matter, creating grand black-and-white imagery of mainly family and friends, that he processes and prints by hand.

All of Xavier’s photographs are connected by a religious thread of “decontextualised religious icons, saints, and martyrs across various cities in the United States and Europe that reflect the colonial history of image-making”. Simply, his work is a reclamation of divinity, but more importantly, it traces the Black experience through these periods, by taking cues from modern Black life. With inspirations such as the perception-shifting and explorative paintings of Kerry James Marshall, the identity, power and gender representations found in Carrie Mae Weems’ photography, and the multimedia works of Lorna Simpson, he absorbs and exudes the Black experience from a uniquely surreal perspective.

Dal prof joins photographer in exploring New Orleans carnival culture

Dal prof joins photographer in exploring New Orleans carnival culture

When Dr. Martha Radice first traveled to New Orleans more than a decade ago to attend a major anthropology conference, she didn’t expect the impact the city would have on her research.

As a social anthropologist whose work focuses on the social, spatial, and cultural dynamics of cities, being introduced to the carnival culture in New Orleans inspired her to explore what the annual celebration does for the thousands of people who participate in the festivities.

“Carnival brings people a lot of joy, though it also takes a lot of hard work,” says Dr. Radice, an associate professor in the Department of Sociology and Social Anthropology. Her current research project, Grasping Joy: New-Wave Carnival Krewes in New Orleans explores the ‘new wave’ of carnival krewes and masking in New Orleans. It focuses on the walking krewes — a krewe being a social club that organizes carnival activities — that make their costumes, floats, and throws by hand, and that parade on foot rather than riding on floats.

Dr. Radice, along with photographer Ryan Hodgson-Rigsbee, have brought glimpses of that joy and the work behind it to the public through a collaborative exhibition that is now on display on the fence outside the New Orleans Jazz Museum. The show will remain there until just after Mardi Gras day, which falls on February 13 this year.

The work is funded by an Insight Grant from the Social Sciences and Humanities Research Council of Canada and a New Orleans Jazz and Heritage Foundation Archive Fellowship.

Carnival From the Ground Up is a tribute to the people who make New Orleans’s carnival by hand and who take it to the streets on foot. It features 70 photographs taken by Hodgson-Rigsbee over the last eight years as well as stories of the people represented. Dr. Radice, currently located in New Orleans on sabbatical leave, wrote the accompanying text, captions, and quotes.


Ryan Hodgson-Rigsbee and Martha Radice pictured in New Orleans near their exhibition, Carnival From the Ground Up. (Photo © 2024 G. Mouton, III.) 

Radice first met Hodgson-Rigsbee on a four-month research trip to New Orleans in 2016. She would see him taking photos almost everywhere she went. She realized that Hodgson-Rigsbee was undertaking a similar project to hers but with pictures instead of words, and that her research about carnival, something so visually dynamic, would be greatly enriched by working with a talented photographer already familiar with the culture and community. The two planned to create an outdoor photography exhibit as one of the knowledge mobilization events supported by Dr. Radice’s SSHRC Insight Grant.

See a selection of images and stories from the exhibition at the bottom of this article.

Creating — in a sociable way

The captions and quotes accompanying Hodgson-Rigsbee’s colourful photographs are drawn from Dr. Radice’s interviews with the people represented and explain what participating in carnival, especially the ‘do-it-yourself’ parts, means to people.

What she’s found is that creating carnival brings people joy, not only in the exuberance of the parades, but also in the satisfaction that people get out of the work behind the scenes as they make the things they need for carnival, often learning new skills or teaching others on the way.  

“There is the pleasure to be had in creativity, in coming up with new ideas and playing with familiar themes,” she says, adding that people build a sense of community as they work or parade with the other members of their groups, and also as they perform for the crowds lining the streets. 

“There is also the excitement, the magic that people feel when they are in the moment that they created, in their parade or when they come out in their suits or costumes on Mardi Gras day. For many people this is spiritual, as they uphold longstanding traditions or participate in deeply meaningful rituals.” 


Passersby look at Carnival From the Ground Up on Decatur Street, New Orleans. The 70 photos are accessible to the public 24/7. (Photo © 2024 Ryan Hodgson-Rigsbee)

Dr. Radice’s research has given her first-hand experience of the joy of carnival. As an anthropologist, she uses the method of participant observation to learn about her research topic.

“I got to learn about carnival by showing up and helping,” she says.

“Being able to create things with other people in a sociable way, in a context that is outside of paid work is an important and rewarding kind of activity, and I think it is probably profoundly good for us as human beings. What’s amazing is that carnival in New Orleans sets up a social structure for people to be able to do this, every year. And I think that’s something that we can really learn from.”

Follow @carnivalfromthegroundup on Instagram for daily photos and read more about the exhibit Carnival From the Ground Up on Dr. Radice’s website.

See selections from the exhibition below. Photographs by Ryan Hodgson-Rigsbee; Words by Martha Radice. 


Photo © 2024 Ryan Hodgson-Rigsbee. Do not reproduce without permission.

Dressed as phoenixes for Mardi Gras 2022, the Society of Sainte Anne parades down Chartres Street towards Jackson Square on their way to the river. Sainte Anne was founded in 1969 by a group of friends keen to revive the gorgeous, glorious street masking traditions of Mardi Gras past. They remain, as one longtime member puts it, “a very anachronistic, anarchic group with no membership roster, no dues. We are an organic occurrence with a band — once a Secret Society and now the favorite to see on Mardi Gras morning — a group of friends and neighbors dressed in their finest regalia, going for a long walk together.”


Photo © 2024 Ryan Hodgson-Rigsbee. Do not reproduce without permission.

Krewe de Lune parades in Krewe Bohème’s 2023 parade, on the theme “Night of the Living Art.” Founded in 2009, Krewe de Lune creates stellar puppets, costumes and contraptions to delight parade watchers, as well as hosting their annual Space Ball and Lunar Lagniappe fundraiser.


Photo © 2024 Ryan Hodgson-Rigsbee. Do not reproduce without permission.

Members of the Totally Orgasmic Krewe of Intergalactic Ne’er-do-wells, better known as T.O.K.I.N., parade in Krewe du Vieux in 2023.


Photo © 2024 Ryan Hodgson-Rigsbee. Do not reproduce without permission.

“It’s healing the child within. Most women that I’ve encountered, most of the Baby Dolls, we’ve been through life’s struggles. It’s healing and it’s spiritual. When people in the audience see me and the other ladies dressed in doll style, no matter what a person may be going through, just to look at us and encounter us, even if it only lasts five minutes, it’s five minutes of spiritual healing. When we come out to play on Mardi Gras day, it doesn’t matter what challenges happened yesterday; when we dress in our regalia, it’s like learning to let go. All that matters is healing, bringing that happy, joyful spirit. It’s a spiritual release.”

Baby Doll Carol “Kit” Harris of the N’awlins D’awlins dances in the Krewe Delusion parade in 2019. The Baby Doll masking tradition dates back to the early 20th century. It waned in the middle of the century, but proud Black New Orleanian women started to bring Baby Dolls back from the 1970s on. The N’awlins D’awlins, which Baby Doll Kit founded in 2016, is one of the groups that keeps the culture thriving today.


Photo © 2024 Ryan Hodgson-Rigsbee. Do not reproduce without permission.

“When I’m at work I’m always covered in filth, a behind-the-scenes art rat, versus the glam of Mardi Gras day, being polished with a pound of makeup on. The point of that look was to have a face on a face on a face on a face, to create a play on masking where you don’t know which is the real reality. Being at the river is the most sacred part of my Mardi Gras day. I always end up crying. There’s a baptismal quality to it. The river opens up space where you can process; it gives you that break in the day when you can center yourself. It’s a moment of intimacy. At work, you spend all year with the float two inches from your face, and you can’t see what it’s going to be until the parade finally rolls and it becomes one cohesive thing. The photo in the Rex den is like a coiled spring, and the photo by the river is me springing! With a float, the artists are hiding behind the surface. Costuming is one of the few creative experiences where I get to see people’s reactions in real time, but when I’m getting too much interaction, I can also hide behind the mask, trying to find that sweet spot.”

Caroline Thomas is Art Director at Royal Artists and lead painter of the Rex and Proteus carnival parades, pictured at work in the Rex den in 2022 and in costume at the Mississippi River on Mardi Gras day 2023.


Photo © 2024 Ryan Hodgson-Rigsbee. Do not reproduce without permission.

“I’m in the Krewe of Armeinius, one of the oldest gay Mardi Gras krewes. Instead of a parade, we throw a ball. This blue costume was part of my tableau for the ball, but the tradition for the Krewe is to take our costumes out to the Bourbon Street Awards in the French Quarter on Mardi Gras day and show them off one more time, so it’s not six months to a year’s worth of work for just one night. The theme in 2020 was ‘The Time Ball.’ I have a three-foot TARDIS on my back, and the wavy blue and black piece has Roman numerals on it, so it’s the opening sequence of Doctor Who. And that costume won the Best Drag category. I won again in 2022! I started doing drag in 2018, and it has been going so well that I was able to leave the day job in public health, even though I loved the work, to do my art full time. Now the sweet spot for me is combining drag and public health!”

Debbie with a D (@debbiewithad) made this costume for her first performance in the Krewe of Armeinius bal masqué. Here, she is getting ready to host the Tuesday Open Talent night at Oz on Bourbon Street.


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The World Photography Organisation reveals the National & Regional Award winners for the Sony World Photography Awards 2024.

The World Photography Organisation reveals the National & Regional Award winners for the Sony World Photography Awards 2024.

The N&R Awards programme is an initiative set up by the WPO 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

Maria Ptqk on Getxophoto and Curating Photography in Public Space

The curator offers insights on the selection process and the collaboration with PhMuseum that will soon bring another artist to exhibit at the Basque festival.

Since 2020, one applicant of the PhMuseum Photography Grant has been selected every year for a solo show at Getxophoto. After Silvia Rosi, Juliana Gómez Quijano and Alejandro “Luperca” Morales, Protege Noctem by Mattia Balsamini reached the underworld of Galerías Punta Begoña last year, his inquiry into the disappearance of the night becoming a physical, embodied experience. As this edition’s deadline approaches, we touched base with Maria Ptqk to look into the process behind her work in Getxo.

Can you give us a glimpse of how the collaboration between you and the chosen artist usually runs? For example, what was the path that led to the way you exhibited Protege Noctem by Mattia Balsamini last year?

We had several viewing sessions of the 2023 Photography Grant projects and selected a few that we felt addressed our chosen theme (Pause) from different points of view. In the end we chose Mattia’s because it spoke to us about the environment and also focused on the effects of light pollution on animals. At the same time, it coincided that we had a space where this work fitted well and could add another layer to Mattia’s project. So, once we had a clear idea, we proposed it to the artist, who liked the proposal and the selection of images was made together. The idea is to establish a conversation with the chosen artist and present our ideas and the space we think is ideal for exhibiting the selected work.

What are your leading principles and thoughts when designing a show for the Festival? 

We always keep in mind that Getxophoto is a festival that takes place mostly in the public space in the streets of Getxo, which is a small town on the Basque seaside, close to the city of Bilbao. Thus, the photographs merge with the urban landscape and the daily routines of the local population when they go to the post office or when they wait for the traffic light to get green, for example. That is why, when thinking about the program as a whole, we try to find the right balance between the artistic interest of the projects and their availability to fit properly into the space in which they are exhibited. We also tried to combine different genres and styles: portrait with documentary, analogue b&w with super contemporary images, etc. so that the festival reflects the current state of image creativity today.

Curating exhibitions for a festival is different from working in a gallery or museum. What have you found in this format and how do you think it can be beneficial for artists?

At the festival we show mostly outdoor displays but there are also indoor exhibitions. The main difference is that visitors to a gallery go there of their own free will and with a cultural purpose which means they are willing to devote time and attention to whatever is proposed to them within this framework. Whereas the exhibitions in the public space are more like an unexpected encounter: people don’t always choose to go and see an exhibition, they just stumble upon it. And this is more exciting but also more demanding for the artwork because it is more difficult to arouse interest and have a memorable impact. So, artists receive another kind of feedback and understanding of their own work, not better or worse but definitely different and valuable.

What do you usually look for in a body of work, and what criteria or ideas do you follow when making your selection?

Besides the criteria I mentioned before, which apply to the festival as a whole, when I looking into a particular artwork I am very much guided by what could be called “the personality of the project” in the sense that, even if it’s a subject or a genre that has been widely treated, there is a particular gaze or sensibility that makes this work unique, different from everything else. When I look into a project, I like to find the person behind it, not because it is a personal or autobiographical project but because the author’s gaze is present and speaks to you.

Thinking of you as a spectator, is there one exhibition you have seen in your life that you think had an impact on your work as a curator? In general, how do you gather references and inspiration?

I don’t want to sound too commonplace but honestly the world is an exhibition. We are surrounded by images that try to get our attention and tell us a story, and I’m not just talking about advertising which is obviously the main stage of visual imaginary nowadays. Everything that happens around us is a source of inspiration. So, working with images doesn’t mean that your inspiration has to come only from visual material: all forms of art are a source of inspiration, but also all kind of practices, artistic or not, and from every period of history. I guess the key to a good curatorial gaze is to be able to develop a cultural understanding of reality in all its forms.

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The PhMuseum Photography Grant has established itself as a leading prize in the industry over the last 12 years, renowned for recognising the importance of contemporary photography and for supporting emergent artists through cash prizes, exhibitions at international festivals, educational activities and exposure on online media. Among several institutions, Getxophoto will offer a new solo show to one work selected from our open call. You are welcome to present your work before 15 February 2024 at 11.59 pm (GMT). Learn more and apply at phmuseum.com/g24

Getxophoto is a festival focused on the image that has been held in Getxo -Basque Country- since 2007, created and managed by Begihandi. An initiative in continuous search of being more participative, committed and sustainable.

The Art of Connection: Nddy’s Journey from Photographer to NFT Innovator | NFT CULTURE | NFT News | Web3 Culture | NFTs & Crypto Art

The Art of Connection: Nddy’s Journey from Photographer to NFT Innovator | NFT CULTURE | NFT News | Web3 Culture | NFTs & Crypto Art

In the vibrant landscape of digital art and NFTs, Nigerian photographer and digital artist Nddy stands out as a beacon of innovation and creativity. With a career spanning over two years in the NFT space, Nddy has skillfully navigated the complex world of art, technology, and community to create timeless pieces that resonate deeply with viewers around the globe.

Early Beginnings: From Hobby to Passion

Nddy’s artistic journey began in 2017, rooted in a passion for capturing life’s essence through the lens of a camera. Despite initial familial reservations and being camera shy, Nddy embraced photography, using a phone to explore and document the world. This early challenge didn’t deter Nddy; instead, it fueled a determination to turn a hobby into a career, laying the groundwork for a future in digital art.

Transition to Digital Art and NFTs

The shift from traditional photography to pioneering digital art was catalyzed by Nddy’s introduction to NFTs in late 2021. Initially drawn by the financial prospects, Nddy quickly recognized the broader potential of NFTs to provide global visibility and transform personal art into a recognizable brand.

Can you walk us through your journey from traditional photography to becoming a pioneering digital artist within the NFT space? What motivated this transition?

My journey began with a passion for traditional photography, capturing life’s essence through my lens. Transitioning to digital art and the NFT space in late 2021 was a pivotal moment. Initially, the financial prospects of NFTs caught my attention, but I quickly realized the potential for global visibility and brand development for my art. This shift was driven by a desire to innovate while staying true to my roots, blending tradition with modern digital expression.

Who or what are your biggest artistic influences, and how do they shape your approach to creating digital art and photography?

My artistic vision is heavily influenced by my Nigerian culture, history, and the environment around me. These influences have been instrumental in shaping my approach to digital art, allowing me to infuse traditional elements with a contemporary twist. The diverse artists and genres I’ve encountered in the NFT space have further inspired me to explore and integrate various cultural and historical themes into my work.

Having been in the NFT space for about two years, how have you seen the landscape change for artists and collectors alike? What do you believe the future holds for crypto art?

The NFT landscape has evolved significantly, offering both opportunities and challenges. The bear and bull markets have shaped the space, emphasizing the importance of community and genuine engagement over short-term trends. I believe the future of crypto art is bright, with potential for further growth and innovation, mirroring the early days of social media.

You’ve mentioned the importance of creating connections with other artists and collectors. How has this network impacted your growth and visibility in the NFT community?

Building strong connections within the NFT community has been crucial for my growth and visibility. These relationships have not only provided support and encouragement but also opportunities to showcase my work on international platforms, breaking barriers and reaching a wider audience.

With your work featured on platforms like OpenSea, Foundation, and exhibitions like MONOLITH Gallery VII and NFT NYC, what factors guide your choice of platforms or exhibitions to showcase your art?

When choosing platforms and exhibitions, I look for those that align with my goals of brand building and reaching a diverse audience. I prioritize platforms that are art-focused and offer artist-friendly features, as well as exhibitions that have the potential to connect me with collectors and artists who appreciate the depth and narrative of my work.

Could you share the inspiration or story behind one of your pieces that holds particular significance to you?

One of my favorite pieces, ‘Adaugo,’ is inspired by my childhood memories and the traditions of Igbo land. It reflects on the role of first daughters and celebrates cultural heritage through the intricate details of attire and symbolism, embodying my journey and connection to my roots.

As a Nigerian artist, how do you balance the global appeal of NFTs with incorporating elements of your local culture and experiences into your artwork?

Balancing the global and local aspects involves embracing my Nigerian heritage while ensuring my art remains relevant on a global scale. I strive to create pieces that tell unique stories, bridging cultural gaps and resonating with a wide audience without losing the essence of where I come from.

What have been some of the most significant challenges you’ve faced in the NFT space, and how have you overcome them?

Navigating the space to find a supportive community and connect with the right collectors were significant challenges. Overcoming these obstacles involved patience, perseverance, and a commitment to my artistic vision, leading to meaningful connections and a sense of belonging within the African NFT community.

My advice is to thoroughly research the NFT space, reach out to established artists for insights, and embrace patience. Celebrate every achievement, learn from each experience, and enjoy the journey, understanding that challenges are part of the growth process. -Nddy

What’s next for Nddy? Are there any upcoming projects, collaborations, or exhibitions that you’re particularly excited about?

I’m focused on continuing my artistic exploration and brand development. I’m excited about my upcoming project release and the NFT_NYC 2024 exhibition, where I’ll showcase one of my favorite projects. These opportunities represent the next steps in my journey, promising growth, innovation, and greater visibility in the global NFT space.

Looking Forward

With eyes set on greatness, Nddy continues to explore new projects and eagerly anticipates showcasing work at NFT_NYC 2024. The journey ahead promises further exploration, growth, and the unfolding of an artistic legacy that bridges the local and global, traditional and innovative.

TL;DR: Nddy, a Nigerian photographer turned digital artist, shares insights into a journey marked by growth, challenges, and the transformative power of NFTs. From early beginnings to global exhibitions, Nddy’s story is a testament to the importance of cultural roots, community, and embracing the digital evolution.

Sony World Photography Awards 2024 UAE winner announced

Sony World Photography Awards 2024 UAE winner announced

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:

Bangladesh – Mahdin Shafiq Omi

Cambodia – Davuth Van

Egypt – Karim Osama

Germany – Natalie Strohmaier

India – Mitul Kajaria

Indonesia – Dhiky Aditya

Japan – Kenichiro Hagiwara, Winner

Japan – Hajime Hirano, 2nd Place

Japan – Masayuki Hirata, 3rd Place

Republic of Korea – Lee Jongkee, Winner

Republic of Korea – Seongmin Park, 2nd Place

Republic of Korea – Jaeeun Kim, 3rd Place

Kuwait – Mohammed Mirza

Malaysia – Lim Chien Ting

Myanmar – Kyaw Htet

Nepal – Bibek Kunwar

Nigeria – Onyekachi Iloh

Pakistan – Muhammad Saddique Inam

Philippines – Reginald James Lorico

Poland – Barbara Szydlowska

Qatar – Abdulla AL-Mushaifri

Saudi Arabia – Yasser Alomari

Singapore – Ju Shen Lee

South Africa – Lourens Durand

Sri Lanka – Wasiri Gajaman

Taiwan – Chia Jung Chou

Thailand – Thanayu Jongwattanasilkul

Turkey – Okan Yilmaz

United Arab Emirates – Vinaya Mohan

United States – Pascal Fouquet

Vietnam – Tran Tuan Viet

EUROPEAN REGIONAL AWARDS

Czech Republic, Slovakia, Hungary, Romania & Moldova:

Tomáš Havrda (Czech Republic), Winner

Cziráki Orsolya Boglárka (Hungary), Shortlist

Diana Morozovskaia (Moldova), Shortlist

Diana Buzoianu (Romania), Shortlist

Michal Zahornacky (Slovakia), Shortlist

Latvia, Estonia & Lithuania:

Viktors Rimarevs (Latvia), Winner

Raido Nurk (Estonia), Shortlist

Ieva Lozuraitytė (Lithuania), Shortlist

Croatia, Slovenia, Serbia, Montenegro, Kosovo, Bosnia & Herzegovina:

Ana Skobe (Slovenia), Winner

Danilo Kreso (Bosnia & Herzegovina), Shortlist

Robert Marić (Croatia), Shortlist

Suer Celina (Kosovo), Shortlist

Ivana Todorović (Montenegro), Shortlist

Tijana Morača (Serbia), Shortlist

Cyprus, Greece, Bulgaria & North Macedonia:

Vladimir Karamazov (Bulgaria), Winner

Elena Georgiou (Cyprus), Shortlist

Stefanos Papaioannou (Greece), Shortlist

Vlatko Rafeski (North Macedonia), Shortlist

LATIN AMERICA REGIONAL AWARDS

Marcos Azulay (Argentina), Winner

Jair Fernando Coll Rubiano (Colombia), 2nd Place

Marco Chacana (Chile), 3rd Place

Reynaldo San Martín (Bolivia), Shortlist

Alexa Obando (Costa Rica), Shortlist

Wilfrido Enriquez (Ecuador), Shortlist

Juan Pablo Méndez Garzona (Guatemala), Shortlist

Daniel Heras (Mexico), Shortlist

Connie France Calderon Martel (Peru), Shortlist

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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
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Sai Talwalkar
Email: sai.talwalkar@bpggroup.com

How to Take Better Pictures With a Drone

How to Take Better Pictures With a Drone
image

Before the advent of drones, people had to rely mostly on airplanes or helicopters to take aerial photographs. Now, thanks to increasing availability and decreasing price points of drones, as well as advances in obstacle avoidance technology, GPS navigation, battery life and camera stabilization, it certainly seems easier to take photographs from higher elevations.

But that doesn’t mean anyone with a drone can make excellent photographs. Here are some practical tips on the logistics of drone usage and suggestions to make better photos while traveling.

In the United States, the Federal Aviation Administration oversees drone regulations, and FAADroneZone is the country’s official website for understanding drone requirements and managing drone services. If you are a recreational flyer, you must pass an aeronautical knowledge and safety test, called the Recreational UAS Safety Test, before flying your drone.

The drone company DJI also has a detailed website that instructs drone users on local rules and regulations.

The basic rules for flying a drone as a hobbyist — that is, recreationally using a drone — are to fly the unmanned aircraft only at or below 400 feet, always keep the drone in sight, do not fly in restricted airspace and do not fly over groups of people. If you are flying your drone commercially, you must become a certificated remote pilot by passing the F.A.A.’s Part 107 test. This is a more extensive test and covers additional drone rules, airspace regulations and weather conditions.

Be aware that many countries may have different regulations. Anywhere you go, you may be fined or your aircraft may be confiscated if you do not adhere to the rules.

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Getty Images Announced as Official Photographer of 2024 Fall/Winter NYFW: The Shows

Getty Images Announced as Official Photographer of 2024 Fall/Winter NYFW: The Shows
News Home

Tuesday, February 06, 2024 08:57 AM | GlobeNewswire via QuoteMedia

Mentioned in this article

Getty Images Announced as Official Photographer of 2024 Fall/Winter NYFW: The Shows

NYFW Fall-Winter 2024


A Media Snippet accompanying this announcement is available by clicking on this link.

NEW YORK, Feb. 06, 2024 (GLOBE NEWSWIRE) —

Getty Images

(NYSE: GETY), a preeminent global visual content creator and marketplace, has once again been named as the Official Photographer for the 2024 Fall/Winter Season of IMG’s New York Fashion Week (NYFW): The Shows.

As the Official Photographer, Getty Images’ award‑winning entertainment photographers will be delivering high‑quality content throughout New York Fashion Week (February 9-14) in New York City, all to be distributed exclusively through gettyimages.com. This includes covering all shows at RXR’s Starrett-Lehigh building and Fashion Alliance runway shows and presentations, as well as all off-site IMG FOCUS. produced shows, and the first-ever NYFW consumer venue at 21Greene, home to official NYFW programming and merchandise.

“As a premier event, New York Fashion Week embodies the pinnacle of fashion, providing leading designers with a global platform to showcase their collections and trends for the upcoming season,”

said Getty Images Vice President of Global Entertainment Kirstin Benson.

“We are thrilled to build on our longstanding partnership with IMG and be at the forefront of capturing all the fashion, runway shows and behind the scenes moments happening throughout the week. Through special access, our unparalleled distribution reach and unmatched expertise, our best-in-class team will deliver differentiated content that our global customer base won’t find anywhere else.”

For over 25 years, Getty Images’ team of content creators have worked tirelessly to create award‑winning imagery and video that allows customers to set themselves apart from their competition, while including a diverse set of experiences and perspectives throughout the content creation process. In addition to the partnership with IMG, Getty Images content creators are at every major entertainment event globally, from awards ceremonies to fashion weeks to film festivals, covering almost 70,000 entertainment events a year and partnering with major brands on creative content strategy.


Media contact:


Jenna Attardi


Jenna.Attardi@gettyimages.com

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60 tips for a successful entry to Australasia’s Top Emerging Photographers 2024

60 tips for a successful entry to Australasia’s Top Emerging Photographers 2024

6 February 2024

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 16th 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.  

© Richard Tonkin. Top 10 (Single Shot) – Australasia’s Top Emerging Photographer 2022.
© Richard Tonkin. Top 10 (Single Shot) – Australasia’s Top Emerging Photographer 2022.

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.

© Graeme Gordon. Top 5 (Black & White) – Australasia’s Top Emerging Photographer 2022.
© Graeme Gordon. Top 5 (Black & White) – Australasia’s Top Emerging Photographer 2022.

Winning advice

ANIMAL

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

© Ketut Suwitra. Top 20 (Animals) – Australasia’s Top Emerging Photographer 2022.
© Ketut Suwitra. Top 20 (Animals) – Australasia’s Top Emerging Photographer 2022.

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.

© Susi Nodding. Top 20 (Animals) – Australasia’s Top Emerging Photographer 2022.
© Susi Nodding. Top 20 (Animals) – Australasia’s Top Emerging Photographer 2022.

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.

© John Twiname. Runner-up (Architecture) – Australasia’s Top Emerging Photographer 2022.
© John Twiname. Runner-up (Architecture) – Australasia’s Top Emerging Photographer 2022.

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

© Kathy Wallace. Top 10 (Architecture) – Australasia’s Top Emerging Photographer 2022.
© Kathy Wallace. Top 10 (Architecture) – Australasia’s Top Emerging Photographer 2022.

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.

© Jutta Clough. Top 10 (Architecture) – Australasia’s Top Emerging Photographer 2022
© Jutta Clough. Top 10 (Architecture) – Australasia’s Top Emerging Photographer 2022.

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.

© Kym Douglas. Top 10 (Art) – Australasia’s Top Emerging Photographer 2022.
© Kym Douglas. Top 10 (Art) – Australasia’s Top Emerging Photographer 2022.

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.

© Dani Watson. Top 10 (Art) – Australasia’s Top Emerging Photographer 2022.
© Dani Watson. Top 10 (Art) – Australasia’s Top Emerging Photographer 2022.

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.

© Rosie Steggles. Top 10 (Art) – Australasia’s Top Emerging Photographer 2022.
© Rosie Steggles. Top 10 (Art) – Australasia’s Top Emerging Photographer 2022.

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.

© Raquel Aranda. 3rd place (Black & White) – Australasia’s Top Emerging Photographer 2022.
© Raquel Aranda. 3rd place (Black & White) – Australasia’s Top Emerging Photographer 2022.

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.

© Alan Coligado. Top 5 (Black & White) – Australasia’s Top Emerging Photographer 2022.
© Alan Coligado. Top 5 (Black & White) – Australasia’s Top Emerging Photographer 2022.

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.

© Nadja.Arold Top 5 (Documentary) – Australasia’s Top Emerging Photographer 2022.
© Nadja.Arold Top 5 (Documentary) – Australasia’s Top Emerging Photographer 2022.

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.

© Cesar Carrasco Top 10 (Documentary) – Australasia’s Top Emerging Photographer 2022.
© Cesar Carrasco Top 10 (Documentary) – Australasia’s Top Emerging Photographer 2022.

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…

© Jade Soldati. Top 15 (Documentary) – Australasia’s Top Emerging Photographer 2022.
© Jade Soldati. Top 15 (Documentary) – Australasia’s Top Emerging Photographer 2022.

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.

© Julie Kenny. Top 10 (Landscape) – Australasia’s Top Emerging Photographer 2022.
© Julie Kenny. Top 10 (Landscape) – Australasia’s Top Emerging Photographer 2022.

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.

© Julien Visse. Top 10 (Landscape) – Australasia’s Top Emerging Photographer 2022.
© Julien Visse. Top 10 (Landscape) – Australasia’s Top Emerging Photographer 2022.

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.

© Dominique Ryan. Top 15 (Landscape) – Australasia’s Top Emerging Photographer 2022.
© Dominique Ryan. Top 15 (Landscape) – Australasia’s Top Emerging Photographer 2022.

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.

© Karen Sharman 4th (Portrait) – Australasia’s Top Emerging Photographer 2022.
© Karen Sharman 4th (Portrait) – Australasia’s Top Emerging Photographer 2022.

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.

© Jennifer Blau. 3rd (Portrait) – Australasia’s Top Emerging Photographer 2022.
© Jennifer Blau. 3rd (Portrait) – Australasia’s Top Emerging Photographer 2022.

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.

© Alice Mariette. Top 10 (Portrait) – Australasia’s Top Emerging Photographer 2022.
© Alice Mariette. Top 10 (Portrait) – Australasia’s Top Emerging Photographer 2022.

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.

© Tim Burgess. 4th (Single Shot) – Australasia’s Top Emerging Photographer 2022.
© Tim Burgess. 4th (Single Shot) – Australasia’s Top Emerging Photographer 2022.

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.

© Dani Watson. Top 10 (Single Shot) – Australasia’s Top Emerging Photographer 2022.
© Dani Watson. Top 10 (Single Shot) – Australasia’s Top Emerging Photographer 2022.

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.

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