My friend Michael Spry, who has died aged 79, was a photographic printer who counted David Bailey, Norman Parkinson, Lord (Tony) Snowdon, Don McCullin and Terry O’Neill among his clients.

His entire career was spent working in the medium and, while printed photographs went in and out of fashion, he latterly found favour with a new generation attracted to black-and-white photography and keen to learn the analogue mysteries of the darkroom. In photographic printing, he said, they found “an organic alternative to the bland qualities of the digital camera”.

Michael had the ability to print in the individual “house style” of each of his clients, with a range of techniques dating from the days of the pioneers. He experimented with lith printing, toning, tinting and more, all of which needed a specialist’s knowledge of chemistry.

I started working with Michael in the 1970s. Uniquely, I was permitted to be with him while he printed. In the dimness of a red safe-light, I was privileged to witness him working in the darkroom of his studio in Mount Pleasant, central London, and later in Valentine Place, Southwark.

I was reminded of an orchestral maestro, gesturing with his hands, allowing light from the enlarger to reach photo-sensitive paper – or not, as the image required – timed to the second. Ever the perfectionist, Michael would halt or advance the developing process while the print was still in the developer by adding hot water or ferricyanide directly on to a tiny part of the image, a risky business requiring a light touch and a steady hand.

Born in Hitchin, Hertfordshire, Michael was the son Minnie (nee Hancock), a cinema usherette, and Arthur Spry, a carpenter, and went to Ruislip Manor secondary school. Keen to work with his hands, in 1961 he took a chance position as a black-and-white photographic printer, via the job centre, at Gordon Bishop photography stores and services in Marylebone, central London, where he learned his craft. He left five years later to work independently, forming his own company, Downtown Darkroom, in Clerkenwell, which continued until his retirement in 2020.

He married Jenny Rackley, from Ruislip, in 1965, and they stayed there until he died. After his retirement he worked from a studio at their home.

He is survived by Jenny and their sons, Paul and Adam.

The frenetic final months of the year tempt photographers with screaming deals on cameras, lenses, software, supports, accessories, and more. However, the most tempting bargains also invite increased perils around online fraud, box damage, counterfeit risks, and problematic used gear. As eager shoppers hungry for savings paired with prudent consumers, here is how to diligently navigate both established retailers along with secondary marketplaces to avoid financial headaches and make well-informed purchases.

By learning how predators leverage the busy holiday season, understanding your consumer rights, and employing defensive purchasing strategies, photographers can find nice holiday deals to upgrade their kits. We’ve compiled this exhaustive guide of extensive tips so your dealings are secure and satisfying.

Scrutinize Online Retail Environments

With ample creativity and some slick coding, criminals easily construct reputable-appearing websites engineered solely to steal visitor payment details and personal information without shipping any physical products. Verify security certificates match domain URLs with padlock icons. Avoid sites rampant with misspellings or layout issues. Cross-reference unknown retailers through TrustPilot reviews plus social and photography community forum commentary citing others’ firsthand experiences. Probe return, warranty, price match policies, and fraud protection guarantees before entering payment information. Stick with reputable retailers.

Recognize Facade Discounts and Deception Tactics

Disreputable retailers bank on exploiting unwitting holiday shoppers with unbelievable discount offers masking shady intent tied to fraudulent ads and fake order confirmations baiting credit card information without any actual product fulfillment plans. Rather than massive deals, incredibly discounted name brand gear should raise suspicions. Reference historical price charts to identify true bargain savings versus superficial hype.

Consider Final Costs

When comparing advertised bargains across retailers, calculate complete potential expenditure, including shipping fees, sales tax obligations, and any import duties influencing international purchases. Don’t forget the costs of any accessories, such as new memory cards. Avoid unpleasant budget surprises by accurately modeling whole picture costs before completing checkouts.

Scrutinize Kit Savings and Bundle Value

Bundled deals lumping gear together posture temporary price cuts which seduce shoppers. But bundled MSRPs get inflated above regular street prices, so kits only appear discounted. Carefully price out individual components sold separately across vendors to determine actual deal savings percentages. Calculate à la carte totals to assess bundle value objectively.

Archive Order Confirmations 

Securely record order confirmation emails containing line item specifics like product descriptions, model numbers, final charged amounts, retailer contact information, expected delivery dates plus return, exchange, warranty policies and portal logins for monitoring shipment status proactively. These records are vital if post-purchase issues emerge demanding action and to add any new purchases to your insurance policies.

Catalog Serial Numbers and Identifying Characteristics

Document gear serial numbers and other relevant details. Detailed photos explicitly capturing these elements assist product authentications plus insurance claims and can help law enforcement recover stolen items. Maintain accessible archives paired with original receipts, billing statements, and shipping confirmations as lasting proof of ownership.

Inspect, Document, and Video Record Unboxing

Before signing for deliveries, thoroughly inspect boxes for any exterior damage, tampering indications, or odd markings suggesting possible contents compromise. Upon accepting shipments from carriers, immediately open packages while still on premises to check contents against your expectations while delivery drivers can verify disputes. Carefully unpack merchandise, and shoot dated unpacking videos clearly showing all items for condition audits. If anything arrives broken, inoperable or inaccurate, refuse acceptance and contact the retailer promptly for guidance. I can’t tell you how many times I’ve seen someone blindly sign for a package, only for something to be damaged and them to be up a creek because they signed for it. 

Evaluate Operation 

Thoroughly benchmark test new equipment across all functions during retailer return windows. Run diagnostics checks assessing camera sensors without dust blobs or scratches and lens glass devoid of fungus, debris, or optical imperfections. Identify defects immediately, so replacement orders or refunds are accessible before return rights expire. Even if you do not plan to use a piece of equipment right away, make sure you test it. 

Select Payment Methods With Purchase Protection

Credit card networks extend the strongest fraud protections and purchase power for disputing issues compared to direct bank account withdrawals lacking oversight. Never wire untraceable money transfers with strangers. 

Maximize Post Purchase Price Adjustments

Many retailers extend holiday price matching and return windows from October through January, allowing adequate testing and evaluation time before binding users to newly acquired gear. If issues develop or better subsequent sales surface, customers can conveniently request refunds or send back unsatisfactory products.

Vet Secondary Marketplace Sellers Thoroughly

Used equipment provides incredible value. However, preowned gear inherently invites increased risks of problematic functionality and fraudulent sellers misrepresenting items. Prior to purchasing, scrutinize user reputation ratings and deal completion percentages. 

For peer-to-peer marketplaces and community trade forums, thoroughly vet both sellers and actual merchandise before money changes hands. Probe seller histories, determining trustworthiness. Feedback ratings are your friend.

Coordinate Safe Transaction Locations

When meeting strangers to exchange cash for gear, only gather at secure public locations in daylight. Police departments often designate areas for such exchanges. Leave valuables at home, carrying only intended deal funds. Complete interactions quickly and depart promptly. Avoid accompanying strangers to vehicles or secondary locations. Listen to intuition and don’t be afraid to terminate discussions if uneasy. Having a companion also bolsters safety.

Conduct Thorough In-Person Gear Inspections

Before monetarily committing, extensively test all purportedly functional secondhand equipment yourself, checking switches, dials, and connections for problems while also evaluating image quality. This isn’t just because some sellers might be attempting to mislead you. It’s easy for honest people to miss issues too.

Scrutinize kit exteriors and internals, assessing wear. Note dents, paint chips, and brassing. Identify missing components like caps and manuals. Be sure to take test shots and pressure-test equipment with things like challenging autofocus situations. 

Secure Verifiable Payment Documentation

If dealing directly with unverified sellers, transact through secure, irreversible payment processors like PayPal, which provide basic fraud protection. Never wire untraceable cash, since recouping funds once transferred is near impossible. Maintain detailed records of all listing terms, identifying serial numbers, contact information, and payment confirmation codes, safeguarding your spending as evidence for dispute filings.

Trust Your Senses

When scrutinizing offers that seem too good to be true and seller narratives riddled with inconsistencies generating suspicion, listen to intuition. Allow doubt and skepticism to guide next steps versus ignoring blaring warnings. Hesitations likely originate from legitimate fraud risks versus misplaced anxiety. Don’t be afraid to walk away from deals that feel off or require silent concessions, tolerating misrepresentation in exchange for savings.

The holidays undoubtedly present steep deals, enticing photographers with upgraded gear. However, considerable risks also lurk for overzealous shoppers hypnotized by discounts and unwilling to implement prudent consumer defensive tactics. But by thoroughly vetting products, validating sellers, purchasing securely, documenting orders, evaluating acquisitions carefully within refund windows, and focusing on total ownership costs, we can safely to invest back into our art and business.

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The Black Friday Swell that Hawaii and the West Coast just experienced caught pretty much everybody off guard. It wasn’t forecasted to be as big as it was.  But it came, and it was clean, and it was a blessing that no one complained about. At least no surfer we know complained about it. One photographer was there to cover the swell as it pounded the Hawaiian Islands and then moved on to the California Coast. Photographer Jack Bober happened to be in two places at the right time.

“I was in Hawaii for Thanksgiving visiting family, and ended up just getting really lucky on the Waimea swell,” Bober told The Inertia. “I didn’t expect much out of the week, waves wise, but the North Shore during the winter, you never know. I ended up shooting all day and just absolutely scored.

“Then I came back home on Saturday night and the next morning went to my local break, Ocean Beach, San Francisco, and it was probably one of the best days I have ever shot. Solid 10-15 feet and perfect winds. It doesn’t get much better than that. The swim was pretty tough as it was really powerful and hard to stay in position. I swam for about two hours before getting caught inside by what felt like 10 solid 8-10 footers that sent me in.”

Fair enough. The swell was big. Some in Hawaii were comparing it to last winter’s Eddie Swell. Sometimes, the ocean just gives us what we need when we least expect it.

Wherever you are right now, take a moment to look around. What patterns and shapes do you see? What objects, scenes, buildings, or other designs just look like they “make sense?”

Now, take a look at whatever you identified and imagine a line cutting it in half, horizontally or vertically. Chances are good that you’ll find two halves of a mirror image created by the line in at least one case. If not, then find an object that fits these criteria.

You’re noticing symmetry, where one half of something is the mirror image of the other half. It’s extremely common in everyday life because the brain is wired to find symmetry pleasing. This is one of the reasons that many buildings, cars, clothes, and even foods have symmetry.

It also happens to be a very important part of composition in photography. That is, it’s a very important part of how a photograph is arranged or put together. Symmetry can be used in just about any type of photography, and it’s a valuable tool that can greatly enhance your compositions. This article will explore symmetry from many different angles in the context of photography.

Table of Contents

Types of Symmetry in Photography

There are a few different types of symmetry, and exploring all of them will help diversify the way you compose images. It’s important to understand that the different types of symmetry are named based on their lines of symmetry. This means that different types of symmetry are defined by the lines (and sometimes shapes) that create the symmetrical pattern.

Something else to consider is that symmetry can exist at many different levels. In architecture photography, for example, lines of symmetry are often very well-defined and the symmetry is very clear. In other instances, such as wildlife or landscape photography, symmetry can exist without perfection. For example, many landscapes with reflections can be horizontally symmetrical, even if their top and bottom sides aren’t perfectly identical down to the millimeter.

Horizontal Symmetry

This type of symmetry occurs when a horizontal line passes through an image to make two upper and lower mirror halves. In this case, a horizontal line is the axis of symmetry. In photography and other art, this is most common in images of reflections. Lakes or ponds can create an entirely symmetrical image, while puddles or even water droplets can create horizontal symmetry in just part of an image.

If you really want to play with horizontal symmetry, the next time you find a puddle (or make one on your own), get your camera as close to it as you can. Play with the perspective and try to make it appear that you’re next to a lake. If you can make the reflection created by the puddle take up the entire foreground of your image, you can often give the illusion that it’s a large body of water. It helps if there’s no wind to create ripples on whatever body of water you’re using, but you can sometimes get away with a slight breeze.

Vertical Symmetry

Vertical symmetry occurs when a vertical line creates two left and right mirror halves. This type of symmetry often shows up in animals, other aspects of nature, and tools (such as instruments). Humans generally have vertical symmetry, which is also called bilateral symmetry in biology (bi- meaning two, and lateral meaning side). It’s also common in architecture, as many buildings have vertically symmetrical front sides.

One common way to create vertical symmetry in your compositions is by using paths or roads. Never put yourself or others in danger, but using road lines or paths extending into the distance to divide your image into left and right halves is a simple way to add vertical symmetry. Really, any leading line can create some sort of vertical symmetry.

Vertical symmetry can often be found in cities by looking up. Skyscrapers extending into the sky, lamp posts, and even power lines provide vertically symmetrical compositions. All you need to create an element of vertical symmetry is some sort of line to bisect the image vertically and two sides that are somewhat identical.

Radial Symmetry

Instead of using a line to create symmetry, a central point can act as the point of symmetry. Radial symmetries are less likely to be perfect in nature, but they can still contribute greatly to enhancing a composition. Many flowers and eyes have natural radial symmetry. Domed structures also tend to have radial symmetry from the top and inside.

Since radial symmetry is somewhat difficult to find, challenge yourself to create unique images by using radial symmetry. Anything that makes the viewer’s eye follow a circle to a center point likely has some aspect of radial symmetry.

Other Types of Symmetry

Horizontal, vertical, and radial aren’t the only types of symmetry. Since symmetry is a concept defined by lines and shapes, just about any line or shape could make some sort of symmetry. Get creative! For example, images can have diagonal symmetry if the line of symmetry divides the image into two mirror halves diagonally.

Gear for Using Symmetry in Photography

Ultimately, you don’t need much other than a camera and a careful eye to use symmetry in your compositions. However, if you want to create perfectly symmetrical images, there are a few pieces of camera equipment that might help.

1. A sturdy tripod and a good ball head. This will help you finely adjust your composition to capture the scene as you intend to. Tripods also help you keep your image still and free of camera shake when you activate the shutter, which helps with consistency.

2. A bubble level. If your tripod head doesn’t already have one of these built in, bubble levels are very useful when trying to get lines of symmetry to be straight. If your camera is perfectly parallel to a horizontal line of symmetry, then your image will have horizontal symmetry. Some cameras also have built-in levels, although they’re not always the easiest to use. Check with your camera’s manual to see if your camera can help you level your image itself.

3. A lens with low amounts of distortion (although this can usually be corrected). Symmetry relies on lines being mostly straight for the compositional elements to work well together. Lenses with high amounts of distortion can still capture symmetry, but it’s not always as clean as intended. The best lenses to capture symmetry have low amounts of distortion. If you do have some distortion, this can usually be corrected in a post-processing software such as Adobe Lightroom.

Creating Artificial Symmetry

Especially with the increasing power of computational photography using smartphone cameras and apps, artificial symmetry can also be fun to experiment with. Smartphone apps such as KaleidaCam and MirrorArt will add artificial symmetry to your smartphone’s camera. These apps are especially fun because you can change the pattern of symmetry and find what looks most interesting. This is a fun way to take an ordinary scene and transform it into something unique. These apps also allow you to play with different symmetrical patterns in videography, which can be a great creative outlet.

Another option for creating artificial symmetry is by using post-processing software such as Photoshop. Image transformations and rotations allow you to create symmetry out of any scene, even though it won’t always look natural. Think of this as a way to get creative with your images when you can’t be out shooting.

Learning from the Opposite: Asymmetry

Now that you’ve learned about symmetry in photography, it’s important to give some thought to compositional possibilities when purposefully not using symmetry. Asymmetry – that is, having two halves of your image be unequal purposefully – can add interesting elements to an image.

Asymmetry may direct the viewer to look more at one side or another. It could also direct their minds to try to create symmetry in the image if the two sides are similar, yet clearly not symmetrical. This makes the image more appealing because the brain feels challenged in trying to form a pattern. Asymmetry is typically most powerful when there are distinct “sections” in an image, and one of those sections takes priority over the rest.

While symmetrical compositions tend to be clearly eye-catching and pleasing, asymmetry can also add a unique sense of unrest or emphasis to images. Next time you’re out photographing, challenge yourself to purposefully shoot with symmetry and without. Compare what effects the symmetrical images might have on a viewer versus the effects the asymmetrical images might have. Are the symmetrical ones more calm and in-place? Does asymmetry seem more obscure and on-edge, or something else? Compositional exercises like this don’t require much in terms of subject matter, and they’ll help you develop compositional skills for your future photography endeavors.

Conclusion

We’re so used to symmetry in our daily lives that we sometimes forget to use it purposefully in photography. Whether you’re photographing architecture, landscapes, people, wildlife, or just about anything else, symmetry can add compositional complexity to your images that will make them stand out. If everyone’s taken the same picture of a mountain range, why not try to photograph it with some element of symmetry to show a unique perspective?

Better yet, utilize both symmetry and asymmetry in your photography. Then, you can decide which composition conveys your intended meaning best. Becoming a better photographer often starts with composition, and being aware of symmetry in your compositions is a guaranteed way to start making better images.

Image credits: Header photo by Michael Zhang. All other photos, unless otherwise noted, by Justin Hein

In the world of photography, capturing life’s precious moments is both a passion and a profession. It’s a journey of creativity and business acumen. However, this journey often comes at a cost, with photographers caught in a relentless cycle of long hours, missed family events, and the constant hustle to stay profitable. Finding a healthy work-life balance can be a big challenge.

The All-Consuming Nature of Photography 

Photography is more than just a job; it’s a calling, an art, and a way of life. Many photographers are passionate about their work, and it often consumes their lives, pushing them to dedicate countless hours to their craft. The desire to excel, build a successful business, and gain recognition can lead photographers to work long days, all in the pursuit of their dreams. 

However, the pursuit of success can inadvertently lead to a neglect of one’s mental health and family relationships. Family events, vacations, and quality time with loved ones sometimes take a back seat to a busy shooting schedule and endless hours of editing. 

The Impact on Mental Health 

Photographers often find themselves in a precarious position when it comes to mental health. The long hours and the weight of client expectations can lead to burnout, stress, anxiety, and even depression. 

In the relentless pursuit of perfection, photographers may experience a perpetual state of self-doubt and anxiety, eroding mental health and leading to a diminished sense of self-worth. 

As a photographer’s mental health declines, so too does their ability to create a healthy work-life balance. The inability to switch off from work-related stress and anxiety can lead to tension and conflict within the family, as well as negatively impact relationships with partners and children. 

Missing Family Events 

One of the most significant challenges photographers face is missing out on important family events due to work commitments, especially weddings, where we are locked into a particular date. Birthdays, anniversaries, sporting events, school plays, and other milestones can be easily sacrificed in the name of professionalism and profitability. As children grow, these moments become increasingly fleeting, and failing to prioritize them can result in feelings of resentment, abandonment, and a sense of neglect. There have been times in my career when I booked a wedding/portrait session, only to find that it coincided with an upcoming family event. 

Nurturing Family Relationships 

Balancing work and family life as a photographer isn’t about neglecting your professional responsibilities; it’s about finding a way to prioritize family without compromising your passion and livelihood. Here are some strategies to help nurture family relationships and improve your overall well-being.

1. Set Boundaries

Establish clear boundaries between work and family time. Schedule dedicated family days/times, when work is off-limits. Communicate these boundaries to your clients, and make it clear when you’re available and when you’re not. 

2. Prioritize Time Management

Efficient time management is key to achieving work-life balance. Use tools and apps to streamline your workflow, automate tasks, and reduce unnecessary stress. Don’t be afraid to delegate or outsource tasks that can be handled by others. 

3. Listen to the Family 

Establish regular family meetings where everyone can share their thoughts, concerns, and ideas. This open communication can help prevent issues from festering and ensure that everyone feels heard and valued. 

4. Invest in Self-Care

Prioritize your mental health by taking time for self-care. Whether it’s exercise, meditation, or a hobby you enjoy, dedicating time to yourself can help reduce stress and boost your overall well-being. These are the best methods to recharge and feel like you are in charge of work, and not the other way around. 

5. Plan and Prioritize

Plan your work schedule in advance, ensuring that you can be present for important family events. Set clear priorities and communicate with your clients about your availability. Most clients will understand and appreciate your commitment to your family. 

6. Learn to Say No

It’s essential to learn how to say no when necessary. Overcommitting can lead to exhaustion and a lack of time for family. Be selective in the projects you take on and maintain a manageable workload. 

The Price of Missing Out 

In the hustle and bustle of the photography world, it’s crucial to remember that success should not come at the expense of your family and your own mental health. Missing out on your children’s growth and key family moments can never be regained, and the emotional toll it takes on both you and your loved ones can be irreparable. 

Your children will only grow up once, and the moments you miss can never be relived. They won’t remember the awards you won, the clients you impressed, or the weddings you slogged through. They will remember the times you were there for them, the laughter shared, and the support you provided. Additionally, a family that feels loved, valued, and secure is an incredible source of strength for any photographer. 

My family has been my biggest supporter. They have helped me find that “happy balance.” But, they really smiled when I was there for them. 

Conclusion 

Balancing work and family life as a photographer is a complex endeavor. The relentless pursuit of success can lead to detrimental effects on your mental health and family relationships. It’s crucial to find a work-life balance that prioritizes your family’s well-being without compromising your professional aspirations. 

In the end, a balanced life that includes both a thriving photography career and a thriving family life is the path to genuine and lasting success. 

David Hakamaki is a renowned international speaker, educator and photographer. He has been a regular speaker at WPPI and speaks on various photography & business topics. He is married to his wife, Gina, and has four grown children (Henry, Finn, Lara & Ryan) who still tolerate him and his photography career.

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In a time when the public is increasingly skeptical about the veracity of what they see online, the Natural Landscape Photography Awards is a breath of fresh air. Thanks to a stringent set of requirements, you can rest assured that, in the case of this exceptional landscape photography, what you see is what you get.

Entrants are not allowed to add, remove, or distort significant elements from their images. They also can’t combine images taken at different focal lengths or during different times of day. In order to verify the accuracy of the images, judges require that each photographer also submit their RAW files.

Even though the competition is only in its third year, it still received 11,176 entries from professional and amateur landscape photographers in 54 different countries. And the winners clearly demonstrate that heavy editing is not necessary to produce breathtaking images. Canadian landscape and nature photographer Blake Randall was named Photographer of the Year for his exceptional portfolio of work. From snowy rolling hills to detailed photos of the icy environment, Randall’s photos rose to the top of the field.

“Since its inception, the NLPA awards have set the gold standard for landscape photography—preserving the authentic experience of capturing our planet’s unaltered natural beauty in contrast to the growing popularity of AI and computer-generated imagery,” Randall shared. “The images presented in the competition reflect the kind of photography I aspire to achieve, making this award extra special and something I will be proud of for the rest of my life.”

Proving that you don’t need to be a professional photographer to win an award, Gabriel Stankiewicz‘s image of snow-hugged trees in Norway was named Photograph of the Year. Stankiewicz is a doctoral researcher in computational mechanics by day, and he came across the scene while snowshoeing in Norway.

While winter appears to dominate the top awards, there’s also plenty of greenery to be seen across the contest’s 10 categories. From stunning star trails to lush moss-covered forests, the winners showed off a wide range of landscapes. The winners shared in a prize pool that included $13,000 in cash prizes, as well as FLM tripods. Scroll down to see more winners and get inspired to know that AI has nothing on these talented photographers.

The 2023 Natural Landscape Photography Awards announced their winners.

“Untitled” by Tiago Mateus. Project of the Year, Winner.

“A storm in crayon” by Björn Nehrhoff von Holderberg. Grand Scenic, Winner.

“Lake Frome / Munda, South Australia” by Peter Eastway. Aerial, Winner.

“Gogh With The Flow” by Matt Redfern. Abstract and Details, Runner Up.

“Untitled” by Blake Randall. Photographer of the Year, Winner.

The contest has strict rules about photo manipulation and retouching in order to ensure the integrity of the contest.

“Arctic Tenacity” by Gabriel Stankiewicz. Photograph of the Year, Winner.

“Untitled” by Benjamin Maze. Photographer of the Year, Runner Up.

“Untitled” by Xavier Lequarre. Grand Scenic, Runner Up.

“Eyeing the stars” by Prajit Ravindran. Night, Runner Up.

“Disturbed” by Peter Coskun. Black and White, Runner Up.

All finalists were required to submit their RAW files so that the judging panel could guarantee the authenticity of the entries.

“Ice calligraphy” by Pål Hermansen. Aerial,Runner Up.

“Little Leaves” by Mieke Boynton. Common Places,Runner Up.

“Empty” by Jay Tayag. Environmental,Runner Up.

“Tempest – Crawford Notch NH” by Harry Lichtman. Black and White, Winner.

“Early Morning at Piemans Falls” by James Hider. Water, Winner.

Over 11,000 images from photographers in 54 countries were entered into the competition.

“Winter Story” by Takahashi Hiroto. Intimate Landscape, Winner.

“Lightpainting” by Barbara Seiberl-Stark. Water,Runner Up.

“Solstice Marker & Star Trails” by David Hunter. Night, Winner.

“Ephemeral distortion” by Alexandre Deschaumes. Mountains, Winner.

“Winter Light – Mt Geryon – Du Cane Range” by Grant Dixon. Mountains,Runner Up.

“Untitled” by Eric Bennett. Abstract and Details, Winner.

“A little piece of autumn” by César Llaneza. Intimate Landscape, Runner Up.

“Once Upon a Time” by Matt Redfern. Common Places, Winner.

“Fuse” by Martin Bürner. Environmental, Winner.

Natural Landscape Photography Awards: Website | Facebook | Instagram

My Modern Met granted permission to feature photos by the Natural Landscape Photography Awards.

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The Sony World Photography Awards, a recognized platform for emerging talents, has come under scrutiny for its age limit policies within its Student award category. There’s a growing concern about the fairness of age limits that exclude mature students, with questions raised about imposing an upper age limit of 30 years for participants in the student category.

The Sony World Photography Awards Student competition, themed “Home,” encourages participants to explore and express their interpretations through a photographic series. Education institutions across the world are encouraging and supporting their students to submit their entries in order to be in the running for early-career recognition of talent, which would certainly stand students in good stead for their ongoing career trajectories. When reading the terms and conditions of the student category, rule number one states: “The Competition is open to all students of photography from World Photography Organization’s selected Universities. All Entrants must be aged between 18 and 30 years of age at the time of Competition’s deadline.” The latter contradicts the former, as not all students pursuing photography qualifications are 30 years old or younger.

The crux of the issue is that not all students are recent high school graduates or young adults starting their academic journeys. It is common for creatives of all types to change careers and pursue their passions after trying to fit into working in a more traditional career. The argument for removing age limits gains strength when considering the motivations behind taking up photography later in life. Unlike younger people, mature students often come with some extra life experience, each bringing a distinctive narrative to their photographic endeavors. For some, photography might be a second career or a means of self-expression after years spent in a different field. Others might use it as a therapeutic outlet, a creative escape that adds depth to their personal and professional lives, or something to keep them occupied upon retirement.

The term “student” encompasses a diverse range of individuals, including those pursuing higher education later in life. Imposing an upper age limit overlooks the broader reality of a typical higher education classroom. Mature students, often juggling work, family, and education, might discover their passion for photography later in life, but their contributions to the student population should not be dismissed. This policy inadvertently penalizes those who bring life experiences and unique perspectives to the art form.

A student competition should extend beyond age brackets and celebrate diverse experiences, perspectives, and creative journeys. By imposing an age limit, the competition inadvertently perpetuates a narrow definition of what it means to be a student photographer. Photography is not confined to a specific age group, and the restrictive policies risk sidelining the rich contributions that mature students can bring to the table.

As someone who enrolled in formal photographic study in my late twenties when I was already working in the field of photography, I can remember aging out of student photography competitions. The exclusionary nature of these competitions not only affects individuals who, like me, ventured into photography later in life, but also undermines the diversity of perspectives that could contribute to the richness of the artistic discourse within the student community. The only option that mature students have within the confines of the Sony World Photography Awards would be the Open category, amongst a myriad of professionals and enthusiasts, which accepts single image entries only. This category also offers a different prize at $5,000 cash rather than $20,000 of Sony imaging equipment for the student and their institution. The existence of a separate Youth category for those under 18 implies an acknowledgment of the unique needs and perspectives of younger photographers. Placing an age ceiling on the student category seems contradictory, as it fails to recognize the equally diverse experiences of those over 30 pursuing photography as students.

To even the playing field, student photography competitions should consider adopting more flexible age policies. Eliminating the upper age limit would acknowledge the varied life trajectories of students. As the deadline for the Sony World Photography Awards approaches, it is an opportune moment for organizers to re-evaluate their age restrictions and pave the way for a more equitable experience for all student photographers.

A few days ago, we brought you news about the latest edition of the world-famous World Press Photo Contest, already on its 69th anniversary, one that aims to recognize and celebrate the best photojournalism and documentary photography. At the moment of publication, though, we lacked information on what precise measures and rules would be set to safeguard the awards —and the profession’s credibility— from the justly maligned and frankly misnamed “AI art.”

After all, genuine and honest photojournalism is already being used to spread misinformation; can you imagine the blow the profession would suffer if this happened at the World Press Photo Awards?

Luckily, the measures already put in place against manipulation were enough to set most minds at ease; as stated in rule 18, participants entering the final stages of the contest will be required to submit the files as recorded by the camera.

This made us wonder, though; we know these plagiarizing engines couldn’t make up raw files out of thin air, so what extra rules did they have left to announce? What legalese did they need? Let’s go over them.

Through the Lens

Clearly, the word of the day is “lens-based,” as stated repeatedly in the specific rules on the use of AI tools. Sorry, pinholers; it seems you’re barred from taking part in this contest.

Singles, Stories, and Long-Term Projects.

As stated in rule 19, all photographs in these categories must be made by a lens-based camera. Synthetic or artificially generated images will be disqualified immediately.

Enlarging tools such as Adobe Superresolution or Topaz Photo AI are not allowed and will breach the contest rules on sight.

AI-powered enhancement tools like Denoise have a place in the contest, however; as long as these don’t alter the image significantly, they’re permitted up to a certain extent, yet to be determined by the organization and the jury.

Remember, too, that if you make it past the initial stages of the contest, you will be required to submit the original RAW files for a detailed forensic check.

Knowing all of this, it seems to me that it’s better to be safe than sorry and not use these tools at all.

The Open Format

Here’s something I did not expect; in this category, some AI-powered shenanigans are allowed, as long as the core of the work relies on lens-based photography.

We encourage entries that feature innovative techniques, non-traditional modes of presentation, and new approaches to storytelling. In this context, artificially generated images and generative fill will be permitted as long as lens-based photography remains the core and original source of the project.

I may be old and set in my ways, but I don’t see how this would improve any project based on visual journalism; if you can think of any way it could happen, I’d welcome any comments or suggestions.

Remember, though, that the rules for this category aren’t exactly set in stone; the entrants will be asked to specify to what extent the AI has been used — and only the organization can determine if the work meets their criteria.

Zooming out, a Summary

We’ve been pretty clear on this already, but here’s a reminder. AI visuals shouldn’t have a place in photography awards — or any art awards, for this matter. For several extra reasons —credibility, honesty, safety, etcetera— it should have even less of a place in a contest designed and created to award photojournalists.

We’re in an era where photojournalism is at its most important; it has the power to change minds and push new laws into action, to make us believe and behave differently.

It shouldn’t surprise anyone that such a prestigious contest as The World Press Photo Awards is hellbent on lens-based photography; after all, there’s no other kind of photography.

Except for the pinholers, of course. You, I salute.