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#neutral density photography awards
sitting-on-me-bum · 1 year
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Hollow
Mount Donna Buang, Victoria, Australia - 2021
Photographer: Tyson Waldron - Australia
Neutral Density Photography Awards
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sheltiechicago · 1 year
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Let me see the world!
Photographer: Andi Abdul Halil - Indonesia
Neutral Density Photography Awards
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yama-bato · 1 month
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Sungdong Choi
korea, republic of
Ducks' group dance
Neutral Density Photography Awards 2019
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gepetordi1 · 3 months
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UFO cloud.
The strong Patagonian winds in the extreme south of America form impressive shapes in the clouds. This is a lenticular cloud shaped like a flying saucer or UFO over the famous Mount Fitz Roy in El Chaltén, Argentina.
Photographer: Francisco Negroni - Chile
Neutral Density Photography Awards
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*OUR WEEKLY OPPORTUNITIES SUMMARY IS HERE FROM YOA*– *YOUR OPPORTUNITIES AFRICA*
_Grant Opportunities, Scholarships, Fellowships, seed Capital, Competitions, jobs and All African Opportunities_
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5. A. Noam Chomsky Global Connections Awards 2022.
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7. Neutral Density (ND) Photography Awards 2022
Deadline: 18 September 2022
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We are pleased to open applications to the first edition of SPARK virtual learning and skill-sharing series Program; a 7-day virtual learning and skill-sharing series designed to support 200 young creatives who are aspiring to key creative roles in tech and fash-tech with the relevant skills needed to secure employment or explore entrepreneurship opportunities in the intersection of the tech and creative industries.
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Deadline: 30 August 2022
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The IFAD Agrihub Nigeria project focuses on developing the skills of unemployed Nigerian youth and aspiring agripreneurs to become …..
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Deadline: 31 August, 2022
Electric South invites emerging as well as accomplished African XR creators to apply for a new XR Social Impact Grant.
Immersive media artist or creative technologist based in Africa,more so having a concept or project that utilises real-time 3D (RT3D) or Extended Reality (XR) technology in a creative and impactful way encouraged to embrace this opportunity
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18. USADF African Agricultural Grants 2022
APPLY NOW
For the United States African Development Foundation USADF African Agricultural Grants 2022, registered African agricultural cooperatives, producer groups, processors, and enterprises are invited to apply.
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Deadline: October 11 2022
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Democratic Alliance (DA) Young Leaders Programme.
Deadline: 31 August 2022
Applications for the Democratic Alliance (DA) Young Leaders Programme are now open. Apply now! The Programme seeks to develop and grow future leaders responsible for upholding the vision of One Nation with One Future.
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Deadline: 15 August 2022
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22. The Africa Digital Media Foundation (ADMF), in association with the Heva Fund, AFD, the European Union, the French Embassy in Kenya, and the Association of Animation Artistes, is launching the third cohort of the CreaTech Animation Incubator in order to equip talented East African animators with an investor-ready pitch that they can use to attract investment and pitch at local, regional, and international festivals.
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23. African Initiative for Governance (AIG) Scholarships
Deadline: 9 September 2022
Applications for the African Initiative for Governance (AIG) Scholarships 2023/2024 are now open.
The AIG Scholarships were launched in 2017 to provide a unique opportunity for exceptional West Africans interested in a career in public service to pursue a Master of Public Policy at the Blavatnik School of Government, University of Oxford. Since 2017, twenty-seven (27) scholarships worth over £50,000 each have been awarded to future public sector leaders who have demonstrated a passion for the public sector
https://youropportunitiesafrica.com/2022/07/29/african-initiative-for-governance-aig-scholarships-2023-2024/
https://www.youropportunitiesafrica.com/
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psitrend · 4 years
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Interview with Photographer Cheng Gong
New Post has been published on https://china-underground.com/2020/07/25/cheng-gong-photographer/
Interview with Photographer Cheng Gong
Cheng Gong is a New York-based artist and photographer. Born in Hunan, China he received a bachelor’s degree in Environmental Art of Design from Donghua University, Shanghai in 2012.
Cheng Gong received a master’s degree in Project Management from Northeastern University, Boston in 2016, and a master’s degree in Photography, video, and related media in the School of Visual Arts, New York in 2019. His works are mainly about cultural differences and some specific situations in the western world seen from an Asian perspective. His most recent series of images ” The Ten Precepts of Buddhism”, was selected by many exhibitions in the US and also in China. He gets nominee in the 6th edition of Fine Art Photography Awards, 2020.
Official Site | Instagram
© Cheng Gong
Cheng Gong “The Ten Precepts of Buddhism” series was showing at Barret Art Center in New York for a solo show May 16 – June 21, 2020
How and when did you get into photography? Why did you decide to choose it as your form of creative expression?
Since my major in college is environmental Art of Design, I attended a photography course when I was just a freshman, and I got my first camera in 2008, which gave me an opportunity and another way to see my life. I realized that I like taking photos so much and I would take the camera with me all the time. During the second year of my college, I became an assistant to a commercial photographer in Shanghai. I learned much more practical things about photography. For a long time, photography, for me, was a way to record my life. On the other hand, I could work as a commercial photographer to make money. I found that I was not satisfied with the way that just taking photos for my clients, and I wanted to know more about theoretical knowledge of photography. Then I applied to the Photography department of the School of Visual Arts in NYC. I want to make photography as a form to express the things I care about.
一个-01—One-Elder-01,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-02—One-Elder-02,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-03—One-Elder-03,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-04–One-Elder-04,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-05—-One-Elder-05,-18×12-inch,-2014,-Digital-Format © Cheng Gong
Who influenced you as a person and as a photographer?
Mr. Qian, who was my painting teacher in my college, has influenced me to be a photographer. Actually, when I got into photography, my family went against me. They wanted me to help my parents with their business, not to be a photographer. That is the reason why I had my first master’s degree as Project Management. Mr. Qian is the only one who encourages me to chase my own passion and do what I wanted to. He bought many photo albums for me to learn more about the history of photography. I still remember the first photo album he bought for me was the portraits by August Sander. It was the first time I saw an unbelievable power within photography. I began to explore the art world in photography since then. After I got my first master’s degree, I decided to learn photography and become an artist.
He received honorable mention in Fine Art Conceptual of Neutral Density Photography Awards 2019 and was runner-up in Creative Quarterly issue 59 Online Art magazine.
What are your favorite subjects when shooting photos? Do you prefer to work on photos stage or spontaneous shoots?
I like shooting still life. For a while, I was very interested in normal objects in our daily life, such as fire hydrants, water towers, and water meters, etc.. I think these objects seem ordinary and inconspicuous, but they are very important to people and they are also beautiful. I use to take photos of them as portraits, so I going out at night and light them up. They may seem all the same in our daily life, but in my eyes, they look specific individuals. I also like shooting photos of cultural differences or certain social issues. I do prefer to work in staged photos, because I can control everything, such as the objects, the time, the lighting, etc.. In such a way, I can express fully what I want to show to the audiences.
06-No-food-after-noon,-42-x-56-inches,-2019,-digital-medium-format © Cheng Gong
Can you share with us any story behind a photo that became special for you?
The first photo that jumps in my mind is the one called “No false Speech”, which is one of the “Ten precepts of Buddhism”. At first, I wanted to shoot this one in an American style court because it’s different from the Chinese court. I found it strange that in the US, people can go to court just for an unpaid parking ticket, or anything else even if they feel not guilty. In China, go to court is a big issue. Then I also discover that it was really hard for me, as a foreigner, to contact a court only to make a shoot set. I even tried to contact the law school to see if I could rent their mock court to shoot, but the dean just replied to me “No”. Finally, I decided to shoot this image/idea in an abandoned psychiatric center as a compromised place. I had been to this place several times before, and I found many people take pictures there since there are many beds and facilities in that building. On the shooting day, as we were moving our props and equipment into that building, we were reported by a passenger, and a policeman came then stopped us. He told us that the building was a restricted area, and we were not allowed to get in. He gave each of us a ticket and told us to go to the court the next month. And I had to shoot that one out of the building, and I put this ticket in my frame as it’s part of the photo. So we spent a whole day waiting in the court and fortunately, with no chance to say anything, the judge just dismissed us.
Attending to the court, for this “issue” seemed like a joke to the judge. And I found also that the policeman even put my first name and last name in the wrong place by mistake. Thus, I was sent to the court because of a photo that I wanted to shoot in the court. I had thought so many things after I went to court. Why so many people go to this building to take photos, where I was going to make shooting, but just us reported and got tickets? Why the policeman insisted to gave each of us a ticket? Did going to the court was necessary? Why should we wait in the court for almost a whole day, but the judge just laughed at us and dismissed us without saying anything else? It is an unforgettable experience, and it is not only about a ticket. So this is the story behind a photo I want to share.
Cheng Gong artworks were shown in International photography exhibitions, group exhibitions, and solo exhibitions.
Can you tell us about your photography work “The Ten Precepts Of Buddhism”? Where did the idea come from?
It’s a series of ten photos and I spent almost one year on it. In this series of images, Chinese food and objects are featured, but the backgrounds are in Western-style. For this series, I wanted to imitate the old Dutch oil painting style. However, the main subjects are Chinese, thus creating an awkward atmosphere. This series is not only about Buddhism, but more concerning the differences between the Eastern culture and the Western culture, and also the differences addressed between religions.
10-No-receiving-of-gold-and-silver,-2019,-56-x42-inches,-digital-medium-format © Cheng Gong
09-No-use-of-high-and-broad-bed,-42-x56-inches,-2019,-digital-medium-format © Cheng Gong
08-No-watching-of-dancing,-singing,-or-shows,-42-x56-inches,-2019,-digital-medium-format © Cheng Gong
In terms of the inspiration for this work, first of all, I found that I have not changed my habits and concepts as a Chinese. Even though I have been in the United States for more than 5 years, Chinese cuisine is still my first choice and I only go to Chinese supermarkets to get groceries. I found that this is not just my personal habits but a social issue in Western society. I also found that there are some misunderstandings about Chinese people and culture in the western world like some Western people think Chinese food is disgusting and cheap, which I have the opposite viewpoint about. The conflicts between Chinese and Western culture greatly influence me and my work. Last but not least, since my family believes in Buddhism and I am influenced by my mother and my grandmother, I also believe in Buddhism to a certain extent. Every time I go back to China, my mom takes me to a temple which is located in a mountain near my hometown for staying there several days, I really enjoyed the peaceful and disciplinary life there. I had heard about some stories behind the precepts so I decided to make it as my project.
07-No-adorning-of-oneself-with-garlands,-perfumes-and-ointments,-42-x56-inches,-2018,-digital-medium-format © Cheng Gong
05-No-consumption-of-alcohol,-42-x-56-inches,-2018,-digital-medium-format © Cheng Gong
04-No-false-speech,-56-x-42-inches,-2018,-digital-medium-format © Cheng Gong
03-No-improper-sexual-behavior,-42-x-56-inches,-2019,-digital-medium-format © Cheng Gong
02-No-stealing,-42-x-56-inches,-2018,-digital-medium-format © Cheng Gong
01-No-killing,-42-x-56-inches,-2018,-digital-medium-format © Cheng Gong
Your photography projects “One Child” and “One Elder” in a way can be the two faces of the same coin when thinking about “One child policy”. Are the two works connected? Can you tell us about the ideas behind them?
Actually, these two projects are independent. The “One Elder” is about a social issue in China: more and more young people from rural areas are moving to the cities to live and left their parents in their hometown. This is because the elders get used to the lives in their homes and the rural area. Even though the city has a more convenient life and better conditions, they just do not want to live in the city. On the one hand, it’s difficult for them to live in an unfamiliar environment, on the other hand, they don’t want to bother their children’s life. The elders in this series were born in the 1920s. They could have as many children as they wanted at that time, so the empty chairs represent the number of their children. As we can see from these photos, some of their children left the grandson or daughter in law at home to follow them. However, most of the elders are at home alone. I made this series because of my grandfather, he has six children, including my father, they are all living in the city now, but my grandfather prefers living in the rural area, which he feels much more comfortable to live in.
002-One-Child-One-Skateboard,-12X18-inches,-2016,-digital-format © Cheng Gong
004-One-Child-One-Breakfast,-12X18-inches,-2016,-digital-format © Cheng Gong
003-One-Child-One-Drink,-12X18-inches,-2016,-digital-format © Cheng Gong
001-One-Child-One-Studio,-12X18-inches,-2016,-digital-format © Cheng Gong
The project called “One Child” was shot after I had been in the U.S. for two years. We have a very strict policy in China that one family can only have one child. We are under the ‘protection’ of our parents, and we do not have ‘competition’ in our daily life. However, I found that most people in the US have siblings. I did not have close friends or relatives here, so I felt lonely and isolated. This series of pictures are what my imagination sees as an ideal life – living with siblings and taking care of each other. We drink, eat, and play together. The images of me in the transparency effect represent my imagination, and myself in the center is the reality. The real me is unhappy, lonely, and helpless, and these feelings are exaggerated. Since I live abroad I decided to do that project.
What are the main cultural differences that moved your creative attention when you first got from China to The States? What subjects and themes did you find that weren’t in China?
The main cultural difference, in the States, maybe the diversification. Especially living in New York City, there are different people from all over the world. There is much more freedom here, people can say anything they want to. I found that people from the same part of the world prefer to stay together. I have attended several wedding ceremonies these years, and I found that Asian people’ s weddings mostly consist of Asian people, White people’s weddings mostly consist of white people, etc.. Just like the division of different area: Asians live in some certain areas, black people live in some certain areas, Jewish live in some certain areas, etc.. Unlike that in China, we do not have certain distinctions. I can hardly make friends with foreigners, my friends are all Chinese. This is not my personal issue, but the same for most people here.
What do you wish and hope to communicate through your photos?
Most of my work is about cultural differences. I care about the understanding of some social issues. So I would like the audiences could have the same thought or they could think about themselves. I also want to let the western people know more about Eastern culture. I want to express my own feeling about some social issues and at the same time, the audiences can somehow feel the same as my though, or they can think more from my work.
Recently The States went from pandemic to protests on the death of George Floyd. Do you think the new generation will make a significant change in the themes of the struggle for rights? What do you think about this issue?
As far as I know, this kind of social issue is not an accident but a long-term problem in history. I do believe this issue will be better in the future, but I don’t know if it could totally disappear. Like I said before, I found that most of the black people are living in certain areas,which are located on the edge of the city. Each time I take the flight in the States, I can barely see black people. I remember once I attended an art show in Boston, there are only two black people among about a hundred audiences. I think the struggle for rights is necessary, but in order to change it totally, it needs time.
Photo courtesy of Cheng Gong
#ChinesePhotographer, #NewYork
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thisworld1 · 4 years
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Ronny Behnert won the Landscape category of the Sony World Photography Awards with a series titled Torii - traditional Japanese gates commonly found at the entrance to Shinto shrines.
"Most of the time I use neutral density filters to force long exposures and keep my work minimalist in style. Some of my exposures last five minutes or more, which makes any distracting elements in the water or sky disappear - the longer the exposure, the clearer the photograph."
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https://alexandru-crisan.com/nd-awards-neutral-density-photography-awards-2019-us/
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iphoto-tw · 2 years
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2022 Neutral Density Photography Awards
2022 Neutral Density Photography Awards Final Deadline : 18 September 2022. This is an open invitation. Join us and take part in the competition! #點子秀
be internationally recognized in the world of photography with nd awards The highly acclaimed ND AWARDS is a melting pot of some of the world’s most outstanding and talented souls in the field of photography where recognition, prestige and publicity are instantaneously gained by the winning entry. This is an open invitation. Join us and take part in the competition! (more…)
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sitting-on-me-bum · 1 year
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One Horned Rhino with Jungle Myna
One-Horned Rhino is the pride of Kaziranga National Park, Assam, India.
Photographer: Jayanta Guha - India
Neutral Density Photography Awards
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sheltiechicago · 1 year
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Berliner Cyclist
Marie-Elisabeth-Lüders-Haus in Berlin
Photographer: Fabio Galvez - Spain
Neutral Density Photography Awards
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architectnews · 4 years
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Taj Theog Resort and Spa, Shimla
Taj Theog Resort and Spa, Shimla Hotel Building, Indian Architecture, News, Architect
Taj Theog Resort and Spa in Shimla
25 Oct 2020
Taj Theog Resort and Spa
Design: Studio Lotus and Pradeep Sachdeva Design Associates
Location: Theog, Himachal Pradesh, Shimla, India
photo © Noughts and Crosses
Taj Theog is a 90-key, luxury resort that sits on a cliff on the periphery of Theog, a remote Himalayan town in the northern Indian state of Himachal Pradesh. The project marks the Taj Hotels’ first hospitality venture in Himachal Pradesh and had a clear mandate to marry the region’s rich cultural heritage with world-class amenities to offer guests a service-oriented environment with a profound local connect. Studio Lotus was brought on board by Pradeep Sachdeva Design Associates (PSDA), the architects on the project, to design its public spaces with the aim of bringing in the distinct warmth and intimacy of a mountain home to the hospitality experience.
photo © Noughts and Crosses
Consisted of the brief, the studio has employed a light material palette of locally-sourced timber and stone to create a quiet and restrained spatial experience. Handcrafted elements from the vernacular lexicon are contemporized and incorporated to evoke traditional spatial gestures associated with hospitality and home-like warmth.
photo © Taj Theog
For instance, the prime showcase for this approach, the hotel lobby, features rows of timber spindles suspended on metal screens to recreate the welcoming gesture of Himachali homes in a modern format, as well as to break the large expanse of space into smaller, intimate pockets. The scale of the space is further modulated through the use of locally-sourced pinewood and slate, as well as intricate geometric patterns in the tiles and wooden paneling, both of which add visual density to the interiors.
photo © Taj Theog
The resort, spread across three levels, comprises zones characterized by specific elements to create a distinct identity. For instance, local slate and Budhpura stone are used within the all-day dining space to create a muted foil for the panoramic views of the Theog valley. In contrast, the wide floor span and low-hung roof of the bar are utilized to create a train carriage-like atmosphere, inspired by colonial-era railway dining cars. For the specialty restaurant, the sculptural expression of the wall cladding draws inspiration from Asian influences as well as the traditions of earthenware in the region.
photo © Noughts and Crosses
In a similar vein, leisure zones at the lower levels, including the spa, salon, and gym, feature artworks and storytelling devices to create a sense of place for each facility. A central contemplative kund-like water body greets visitors at the entrance to the zone; beyond, the corridors that lead to the treatment rooms are dotted with specially-commissioned illustrations of local flora and fauna, and display cases with pressed and preserved flowers collected from around the site.
photo © Noughts and Crosses
Moreover, the stone-and-timber vocabulary extends into the circulation spaces of the hotel; through the strategic usage of deodar wood as well as hand-carved motifs referencing the art and culture of Himachal Pradesh, the design scheme evokes a sense of continuity as guests move through the spaces.
Says Ankur Choksi, Principal, about the project, “Overall, even with the narrative of the local stories woven in, the broad stance of the interior scheme is to provide a neutral, evocative backdrop for the hotel’s team to enhance the everyday experience of their clientele using their core values of service and attention to personal needs. The design intervention only attempts to substantiate this sense of luxury that gets created by the experience of being truly taken care of.”
photo © Noughts and Crosses
Taj Theog Resort and Spa in Shimla, India – Building Information
Location: Theog, Himachal Pradesh Client: Indian Hotels Company Limited Architects: Pradeep Sachdeva Design Associates (PSDA) Interior Design (Public Spaces): Studio Lotus Design team (Studio Lotus): Ankur Choksi, Pankhuri Goel, Shikha Gupta, Palak Mittal, Mira Asher, Ayushi Goyal, Arun Sharma Landscape Architect: Pradeep Sachdeva Design Associates Project Sector: Hospitality Interiors Project completion date: February 2020
photo © Noughts and Crosses
About Studio Lotus: Studio Lotus is a multi-disciplinary design practice founded in 2002 — eighteen years later, it is one of the most path-breaking architectural firms in India, with Ambrish Arora, Ankur Choksi, Sidhartha Talwar, Pankhuri Goel, and Asha Sairam at the helm as Principals.
Fostered with a culture of learning and intrapreneurship, the work of the practice is grounded on the principles of Conscious design, an approach that celebrates local resources, cultural influences, an inclusive process, and keen attention to detail.
Studio Lotus’s portfolio has been Internationally recognized – winning, among others: the World Holiday Building of the year at the WAF 2011 Hotel of the Year at WAN 2013, the Creative Re-Use category at INSIDE, the DOMUS Italia Award for Restoration and Adaptive Reuse, the Grand Jury Prize at the Design for Asia Award, the Prix Versaille Special Prize for Restaurant Interiors, making India’s AD 50 list for 5 consecutive years, and a nomination in the Aga Khan Awards cycle 2013.
photo © Taj Theog
Photography: Noughts and Crosses and Taj Theog
Taj Theog Resort and Spa, Shimla images / information received 251020
Location: Nanjing Zendai Himalayas Center, People’s Republic of China
Nanjing Building Designs
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Nanjing International Youth Cultural Centre, Jiangsu Design: Zaha Hadid Architects photo © Hufton+Crow 2nd Nanjing Youth Olympic Games International Convention Center
Futureland Puye Experience Centre and Show Office Design: HASSELL, Architects image courtesy of architects Futureland Puye Experience Centre and Show Office
Purified Residence Design: Wei Yi International Design Associates photograph : JMS Purified Residence
Nanjing Financial City II Master Plan Design: von Gerkan, Marg and Partners (gmp) photo © Gärtner Christ Nanjing Financial City II Masterplan
Nanjing Zendai Himalayas Center by MAD on twitter
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Comments / photos for the Taj Theog Resort and Spa, Shimla page welcome
Website: Theog
The post Taj Theog Resort and Spa, Shimla appeared first on e-architect.
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art-now-russia · 4 years
Photo
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Not long before the presentation - 2., Refat Mamutov
This work is from the series consisting of four songs. The beauty of the shapes and textures of objects and pieces of clothing artists have inspired the author to create this series of photos. My achievements: 1.Fine Art Photography Awards2016/ Nominee(Nudes Category),(Conceptual Category); 2. IPA2015 RUSSIA, (Bronze) / FINE ART ;(Gold) /ADVERTISING; (Gold) / FINE ART; (Gold) /ADVERTISING; 3. IPA2016 RUSSIA, (Gold) /ARCHITECTURE; 4. International Photographer of the Year Photography Awards2015/ 2nd Prize Winner Fine Art: Photomanipulation Category; 5. Neutral Density Photography Awards 2015 /3rd place and Bronze Star Award in People: Portrait Category; Honorable Mention in Advertising: Product / Objects Category; 6. Monochrome Photography Awards 2015/ 1st Prize in Professional Photomanipulation Category; Honorable Mention in Professional People Category; Honorable Mention in Professional Fine Art Category; Honorable Mention in Professional People Category The original photos are printed on photographic paper. Implemented at a specified price 5 and 10 (circulation). The original photo is Packed with a sturdy tube and sent to the customer. All photos have the author's signature. At the customer's photo can be pasted on any solid surface (cardboard, plastic, metal) for an additional fee.
https://www.saatchiart.com/art/Photography-Not-long-before-the-presentation-2/596850/3285876/view
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Neutral Density (ND) Photography Awards 2022 
Deadline: 18 September 2022
Submit your best photos for a chance to win over 7500$ in awards. Neutral Density (ND) Photography Awards 2022 is an open invitation, Join and take part in the competition!
https://youropportunitiesafrica.com/2022/08/02/neutral-density-nd-photography-awards-2022/
Photography competitions and awards
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psitrend · 4 years
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Interview with Photographer Cheng Gong
New Post has been published on https://china-underground.com/2020/07/25/cheng-gong-photographer/
Interview with Photographer Cheng Gong
Cheng Gong is a New York-based artist and photographer. Born in Hunan, China he received a bachelor’s degree in Environmental Art of Design from Donghua University, Shanghai in 2012.
Cheng Gong received a master’s degree in Project Management from Northeastern University, Boston in 2016, and a master’s degree in Photography, video, and related media in the School of Visual Arts, New York in 2019. His works are mainly about cultural differences and some specific situations in the western world seen from an Asian perspective. His most recent series of images ” The Ten Precepts of Buddhism”, was selected by many exhibitions in the US and also in China. He gets nominee in the 6th edition of Fine Art Photography Awards, 2020.
Official Site | Instagram
© Cheng Gong
Cheng Gong “The Ten Precepts of Buddhism” series was showing at Barret Art Center in New York for a solo show May 16 – June 21, 2020
How and when did you get into photography? Why did you decide to choose it as your form of creative expression?
Since my major in college is environmental Art of Design, I attended a photography course when I was just a freshman, and I got my first camera in 2008, which gave me an opportunity and another way to see my life. I realized that I like taking photos so much and I would take the camera with me all the time. During the second year of my college, I became an assistant to a commercial photographer in Shanghai. I learned much more practical things about photography. For a long time, photography, for me, was a way to record my life. On the other hand, I could work as a commercial photographer to make money. I found that I was not satisfied with the way that just taking photos for my clients, and I wanted to know more about theoretical knowledge of photography. Then I applied to the Photography department of the School of Visual Arts in NYC. I want to make photography as a form to express the things I care about.
一个-01—One-Elder-01,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-02—One-Elder-02,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-03—One-Elder-03,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-04–One-Elder-04,-18×12-inch,-2014,-Digital-Format © Cheng Gong
一个-05—-One-Elder-05,-18×12-inch,-2014,-Digital-Format © Cheng Gong
Who influenced you as a person and as a photographer?
Mr. Qian, who was my painting teacher in my college, has influenced me to be a photographer. Actually, when I got into photography, my family went against me. They wanted me to help my parents with their business, not to be a photographer. That is the reason why I had my first master’s degree as Project Management. Mr. Qian is the only one who encourages me to chase my own passion and do what I wanted to. He bought many photo albums for me to learn more about the history of photography. I still remember the first photo album he bought for me was the portraits by August Sander. It was the first time I saw an unbelievable power within photography. I began to explore the art world in photography since then. After I got my first master’s degree, I decided to learn photography and become an artist.
He received honorable mention in Fine Art Conceptual of Neutral Density Photography Awards 2019 and was runner-up in Creative Quarterly issue 59 Online Art magazine.
What are your favorite subjects when shooting photos? Do you prefer to work on photos stage or spontaneous shoots?
I like shooting still life. For a while, I was very interested in normal objects in our daily life, such as fire hydrants, water towers, and water meters, etc.. I think these objects seem ordinary and inconspicuous, but they are very important to people and they are also beautiful. I use to take photos of them as portraits, so I going out at night and light them up. They may seem all the same in our daily life, but in my eyes, they look specific individuals. I also like shooting photos of cultural differences or certain social issues. I do prefer to work in staged photos, because I can control everything, such as the objects, the time, the lighting, etc.. In such a way, I can express fully what I want to show to the audiences.
06-No-food-after-noon,-42-x-56-inches,-2019,-digital-medium-format © Cheng Gong
Can you share with us any story behind a photo that became special for you?
The first photo that jumps in my mind is the one called “No false Speech”, which is one of the “Ten precepts of Buddhism”. At first, I wanted to shoot this one in an American style court because it’s different from the Chinese court. I found it strange that in the US, people can go to court just for an unpaid parking ticket, or anything else even if they feel not guilty. In China, go to court is a big issue. Then I also discover that it was really hard for me, as a foreigner, to contact a court only to make a shoot set. I even tried to contact the law school to see if I could rent their mock court to shoot, but the dean just replied to me “No”. Finally, I decided to shoot this image/idea in an abandoned psychiatric center as a compromised place. I had been to this place several times before, and I found many people take pictures there since there are many beds and facilities in that building. On the shooting day, as we were moving our props and equipment into that building, we were reported by a passenger, and a policeman came then stopped us. He told us that the building was a restricted area, and we were not allowed to get in. He gave each of us a ticket and told us to go to the court the next month. And I had to shoot that one out of the building, and I put this ticket in my frame as it’s part of the photo. So we spent a whole day waiting in the court and fortunately, with no chance to say anything, the judge just dismissed us.
Attending to the court, for this “issue” seemed like a joke to the judge. And I found also that the policeman even put my first name and last name in the wrong place by mistake. Thus, I was sent to the court because of a photo that I wanted to shoot in the court. I had thought so many things after I went to court. Why so many people go to this building to take photos, where I was going to make shooting, but just us reported and got tickets? Why the policeman insisted to gave each of us a ticket? Did going to the court was necessary? Why should we wait in the court for almost a whole day, but the judge just laughed at us and dismissed us without saying anything else? It is an unforgettable experience, and it is not only about a ticket. So this is the story behind a photo I want to share.
Cheng Gong artworks were shown in International photography exhibitions, group exhibitions, and solo exhibitions.
Can you tell us about your photography work “The Ten Precepts Of Buddhism”? Where did the idea come from?
It’s a series of ten photos and I spent almost one year on it. In this series of images, Chinese food and objects are featured, but the backgrounds are in Western-style. For this series, I wanted to imitate the old Dutch oil painting style. However, the main subjects are Chinese, thus creating an awkward atmosphere. This series is not only about Buddhism, but more concerning the differences between the Eastern culture and the Western culture, and also the differences addressed between religions.
10-No-receiving-of-gold-and-silver,-2019,-56-x42-inches,-digital-medium-format © Cheng Gong
09-No-use-of-high-and-broad-bed,-42-x56-inches,-2019,-digital-medium-format © Cheng Gong
08-No-watching-of-dancing,-singing,-or-shows,-42-x56-inches,-2019,-digital-medium-format © Cheng Gong
In terms of the inspiration for this work, first of all, I found that I have not changed my habits and concepts as a Chinese. Even though I have been in the United States for more than 5 years, Chinese cuisine is still my first choice and I only go to Chinese supermarkets to get groceries. I found that this is not just my personal habits but a social issue in Western society. I also found that there are some misunderstandings about Chinese people and culture in the western world like some Western people think Chinese food is disgusting and cheap, which I have the opposite viewpoint about. The conflicts between Chinese and Western culture greatly influence me and my work. Last but not least, since my family believes in Buddhism and I am influenced by my mother and my grandmother, I also believe in Buddhism to a certain extent. Every time I go back to China, my mom takes me to a temple which is located in a mountain near my hometown for staying there several days, I really enjoyed the peaceful and disciplinary life there. I had heard about some stories behind the precepts so I decided to make it as my project.
07-No-adorning-of-oneself-with-garlands,-perfumes-and-ointments,-42-x56-inches,-2018,-digital-medium-format © Cheng Gong
05-No-consumption-of-alcohol,-42-x-56-inches,-2018,-digital-medium-format © Cheng Gong
04-No-false-speech,-56-x-42-inches,-2018,-digital-medium-format © Cheng Gong
03-No-improper-sexual-behavior,-42-x-56-inches,-2019,-digital-medium-format © Cheng Gong
02-No-stealing,-42-x-56-inches,-2018,-digital-medium-format © Cheng Gong
01-No-killing,-42-x-56-inches,-2018,-digital-medium-format © Cheng Gong
Your photography projects “One Child” and “One Elder” in a way can be the two faces of the same coin when thinking about “One child policy”. Are the two works connected? Can you tell us about the ideas behind them?
Actually, these two projects are independent. The “One Elder” is about a social issue in China: more and more young people from rural areas are moving to the cities to live and left their parents in their hometown. This is because the elders get used to the lives in their homes and the rural area. Even though the city has a more convenient life and better conditions, they just do not want to live in the city. On the one hand, it’s difficult for them to live in an unfamiliar environment, on the other hand, they don’t want to bother their children’s life. The elders in this series were born in the 1920s. They could have as many children as they wanted at that time, so the empty chairs represent the number of their children. As we can see from these photos, some of their children left the grandson or daughter in law at home to follow them. However, most of the elders are at home alone. I made this series because of my grandfather, he has six children, including my father, they are all living in the city now, but my grandfather prefers living in the rural area, which he feels much more comfortable to live in.
002-One-Child-One-Skateboard,-12X18-inches,-2016,-digital-format © Cheng Gong
004-One-Child-One-Breakfast,-12X18-inches,-2016,-digital-format © Cheng Gong
003-One-Child-One-Drink,-12X18-inches,-2016,-digital-format © Cheng Gong
001-One-Child-One-Studio,-12X18-inches,-2016,-digital-format © Cheng Gong
The project called “One Child” was shot after I had been in the U.S. for two years. We have a very strict policy in China that one family can only have one child. We are under the ‘protection’ of our parents, and we do not have ‘competition’ in our daily life. However, I found that most people in the US have siblings. I did not have close friends or relatives here, so I felt lonely and isolated. This series of pictures are what my imagination sees as an ideal life – living with siblings and taking care of each other. We drink, eat, and play together. The images of me in the transparency effect represent my imagination, and myself in the center is the reality. The real me is unhappy, lonely, and helpless, and these feelings are exaggerated. Since I live abroad I decided to do that project.
What are the main cultural differences that moved your creative attention when you first got from China to The States? What subjects and themes did you find that weren’t in China?
The main cultural difference, in the States, maybe the diversification. Especially living in New York City, there are different people from all over the world. There is much more freedom here, people can say anything they want to. I found that people from the same part of the world prefer to stay together. I have attended several wedding ceremonies these years, and I found that Asian people’ s weddings mostly consist of Asian people, White people’s weddings mostly consist of white people, etc.. Just like the division of different area: Asians live in some certain areas, black people live in some certain areas, Jewish live in some certain areas, etc.. Unlike that in China, we do not have certain distinctions. I can hardly make friends with foreigners, my friends are all Chinese. This is not my personal issue, but the same for most people here.
What do you wish and hope to communicate through your photos?
Most of my work is about cultural differences. I care about the understanding of some social issues. So I would like the audiences could have the same thought or they could think about themselves. I also want to let the western people know more about Eastern culture. I want to express my own feeling about some social issues and at the same time, the audiences can somehow feel the same as my though, or they can think more from my work.
Recently The States went from pandemic to protests on the death of George Floyd. Do you think the new generation will make a significant change in the themes of the struggle for rights? What do you think about this issue?
As far as I know, this kind of social issue is not an accident but a long-term problem in history. I do believe this issue will be better in the future, but I don’t know if it could totally disappear. Like I said before, I found that most of the black people are living in certain areas,which are located on the edge of the city. Each time I take the flight in the States, I can barely see black people. I remember once I attended an art show in Boston, there are only two black people among about a hundred audiences. I think the struggle for rights is necessary, but in order to change it totally, it needs time.
Photo courtesy of Cheng Gong
#ChinesePhotographer, #NewYork
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lokuhapuarachchi · 4 years
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YOUR PHOTOGRAPHY CONTEST TO 2020
Photography is a medium of a good combination of science and art. Person brain reacting when he sees something and react to hold whatever in front through the camera. Capturing pictures at the exact instant occur solidifies that moment in a visual form, as it is likely may never occur or be replicated again. A really professional photographer identifies and is prepared for these moments, and is ready with the camera at hand to achieve the best possible shot. you may have already capture best images. Then...why are you hiding those image.
According to Fiona Rogers from Magnum "Competitions can be a great way of inviting a little discipline into projects. The application process itself can encourage a better articulation of a project and provide photographers with an opportunity to consider their work more objectively". International Photography competitions celebrate the world’s best photographers, both known and unknown based on their skillset and talent alone. These competitions share and praise the photographers work both online and offline, giving the artist the exposure they need to progress their photography further.
By taking part in these competitions, you can win big. Either cash prizes, photography related gift, cash or international exposure to your work.
Here are major photography contests you should enter in 2020.
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iPhone Photography Awards
Deadline: March 31, 2020
Requirements
Entries are open worldwide to photographers using an iPhone or iPad. Photos should not be published previously anywhere. The posts on personal accounts (Facebook, Instagram etc.) are eligible. The photos should not be altered in any desktop image processing program such as Photoshop. It is OK to use any IOS apps.
The use of any iPhone is permissible. iPhone add-on lenses can be used. In some cases we may ask the original image to verify that it’s taken with an iPhone, iPad. The photos that can not be verified are disqualified.
The submissions must be in the original size or not smaller than 1000 pixels in either height or width.
Categories
Abstract, Animals, Architecture, Children, Floral, Landscape, Lifestyle, Nature, News and Events, Panorama, People, Portrait, Series (3 images), Still Life, Sunset, Travel, Trees, Other.
Prizes
All photographers compete for the 4 IPPAWARDS Photographers of the Year. Grand Prize, 1st, 2nd and 3rd place.
Top Prizes :: All entries compete for the prestigious IPPA Photographer of the Year Award title, and the top 3 winners will receive a prize to be announced later.
18 Gold Bars :: The 1st place winner of the 18 categories will win a Gold Bar from the most recognizable private gold mint in the world.
18 Platinum Bars :: The 2nd and 3rd place winners of the 18 categories will win a Palladium Bar from the most recognizable private gold mint in the world.
The work of the top winner and the 1st, 2nd, 3rd Place Winners on each category will be publicized on IPPAWARDS online gallery and any published IPPAWARDS materials.
Certificates in all Categories :: All 1st, 2nd and 3rd place winners from each categories will receive a IPPAWARDS certificate.
Honorable Mentions :: IPPAWARDS judges will award several Honorable Mention to entries to acknowledge talent as they deem fit.
Judging Criteria :: Members of the Jury will review all entries and judge images on the basis of artistic merit, originality, subject, and style and ultimately decide the winners.
Entry Fees
1 image:$3.50, 3 images:$9.50, 5 images:$15.50, 10 images:$29.50, 15 images:$45.50, 20 images:$57.00, 25 images:$65.50. There are no limits in the number of entries however we recommend that you only submit your best ones.
Return of the Entries
Entries will not be returned. Only winning entries will be kept on file for promotional purposes. IPPAWARDS will not be responsible for any damaged or lost submissions.
Use of images & disclaimer
Copyright and all other rights remain that of the photographer. Any photograph used by IPPAWARDS shall carry the photographer’s credit line. Use may include publication in any IPPAWARDS media sponsor publication. All entrants understand and agree that any image submitted to the competition may be used by IPPAWARDS to use for marketing and promotional purposes including in any media such as exhibitions, print and digital media directly related to the IPPAWARDS competition. Participants represent and warrant that (1) the Photographs are original and that they own the rights to their Photographs, (2) the Photographs do not violate the rights of any third party, (3) the Photographs do not convey a false or misleading impression, and (4) any additional information they submit about the Photographs is accurate.
Winner Notification
All winners will be announced online eight to twelve weeks after the final submission deadline. Only top winners in each categories will be notified before the official announcement.
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neutral density photography awards 2020
ND AWARDS 2020 GUIDELINES
Photographs must be resized to 1100 pixels on the longest side. They must be saved as JPEG file (JPG). Prepare your files with the following specifications: - sRGB or Adobe98 colour space, 8-bit; - longest dimension 1100 pixels; - saved as a JPEG at a setting of 10 (100%) or higher; - no watermarks / copyright units / personal logos on images; - only bleed photographs without borders*; *except Polaroids and other traditional process photos where border is inherent part of the image.
nd awards 2020 categories info Categories are in two sections: Professional and Non-Professional. There is no limit to the number of individual images or image series each photographer may submit. You may enter all your images into 1 category, or any of the 30 sub-categories. You may also enter the same image into as many categories as you wish. Your photos will be rated individually by an esteemed panel of international judges, including: gallery owners, publishers, editors and renowned photographers. Winners of each subcategory will be awarded with: Gold Star, Silver Star and Bronze Star awards.
professional categories
architecture:- Bridges, Buildings, Cityscapes, Interior, Other
editorial:- Daily Life, Documentary, Environmental, General News,Other, Photo Essay / Story,Sports,
fine art:- Abstract, Conceptual, Landscape, Nudes, Photomanipulation 
nature:- Aerial, Landscapes, Other, Seascapes /Waterscapes, Trees, Underwater, Wildlife 
people:- Children,Fashion / Beauty,Other,Portrait,Travel / Culture,Wedding / Family 
special:- Advertising, Drone Photography,Long Exposure, Mobile Photography, Night Photography
non-professional categories
architecture:- Bridges, Buildings, Cityscapes, Industrial, Interior, Other
fine art:-  Abstract, Conceptual, Landscape, Nudes, Other, Photo manipulation
nature:- Flowers, Landscapes, Macro, Other, Seascapes / Waterscapes, Trees, Wildlife
people:-  Children, Family, Fashion / Beauty, Other, Portrait, Self-Portrait,Travel / Culture
special:- Drone Photography, Long Exposure, Mobile Photography, Night Photography, Open Them, Panoramic, Photojournalism / Story, Street Photography
Here are the details about entry fees and deadlines for 2020 edition of ND Awards. early deadline entry fees and date Early Deadline 26 April 2020 Non-Professional - Single image entry fee: $15 Non-Professional - Series entry fee (from 2 to 5 images): $20 Professional - Single image entry fee: $20 Professional - Series entry fee (from 2 to 5 images): $25 final deadline entry fees and date Final Deadline 20 September 2020 Non-Professional - Single image entry fee: $20 Non-Professional - Series entry fee (from 2 to 5 images): $25 Professional - Single image entry fee: $25 Professional - Series entry fee (from 2 to 5 images): $30 multiple category entries Additional Fee $10 per category winners announcement 22 November 2020
prizes
2020 professional grand prize professional grand wrize winner will receive: $2,500 cash prize, ($2000 + $500 for category winner) title: ND Photographer of the Year, monthly feature on the front page of ND Magazine, showcase for a year at the front page of Winners' Gallery and international press and publicity, winners logo and certificate.
2020 non-professional grand prize non-professional grand prize winner will receive: $1,300 cash prize, ($1000 + $300 for category winner) title: ND Discovery of the Year, monthly feature on the front page of ND Magazine, showcase for a year at the front page of Winners' Gallery and international press and publicity, winners logo and certificate.
2020 professional category winners 6 professional category winners will receive: $500 cash prize each, titles: - ND Architectural Photographer of the Year - ND Editorial Photographer of the Year - ND Fine Art Photographer of the Year - ND Nature Photographer of the Year - ND People Photographer of the Year - ND Special Category Photographer of the Year weekly feature on the front page of ND Magazine, showcase at the Winners' Gallery and international press and publicity, winners logo and certificate.
2020 non-professional category winners 5 professional category winners will receive: $300 cash prize each, titles: - ND Architectural Discovery of the Year - ND Discovery Photographer of the Year - ND Discovery Photographer of the Year - ND People Discovery of the Year - ND Special Category Discovery of the Year weekly feature on the front page of ND Magazine, showcase at the Winners' Gallery and international press and publicity, winners logo and certificate.
2020 subcategory winners professional and non-professional subcategory winners will receive: Gold, Silver and Bronze medals, showcase at the online Winners' Gallery, winners certificate.
2020 honorable mentions professional and non-professional honorable mentions winners winners will receive: Honorable Mention medal, showcase at the online Winners' Gallery, winners certificate.
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ANNUAL IPA PHOTOGRAPHY COMPETITION
The International Photography Awards conducts an annual photography competition for professional, non-professional, and student photographers on a global level, creating one of the most ambitious and comprehensive competitions in the photography world today. The IPA recognizes photography’s leading talents who are creating, shaping and defining the world of photography today.
– Be honored by receiving the coveted Lucie Statue at the Lucie Awards Gala – Receive the IPA Trophy at the “Best of Show” Exhibition in New York City   New – Be Published in the IPA Annual Book of Photography – Be Featured in the IPA Best of Show Exhibition in New York City and beyond – Win $47,500 in cash prizes – And more!
PRIZES
International Photographer of the Year Award The top award in the Professional Categories includes The Lucie Trophy and a $10,000 cash prize, sponsored by AtEdge
Discovery of the Year Award: The top award in the Non-Professional Categories includes The Lucie Trophy and $5,000 cash prize
The winner of these two awards will be announced during the Lucie Awards Ceremony.
Category Winners – Professional
The 13 Category winners in the professional categories will each receive a $1,000 cash prize and 2 tickets to attend the Lucie Awards Gala in New York City, where they will be finalists for the International Photographer of the Year award.
An additional $500 allowance towards their travel/accommodation costs will be given to every category winner joining the Lucie event week in New York (Lucie Awards & IPA Best of Show (*). They will also receive the IPA Trophy, which will be awarded at the opening of the curated IPA Best of Show exhibition in New York City, where their winning work will also be featured.   New
Category Winners – Non-professional
The 13 Category winners in the Non-Professional categories will each receive a $500 cash prize and 2 tickets to attend the Lucie Awards Gala in New York City, where they will be finalists for the Discovery of the Year award.
An additional $500 allowance towards their travel/accommodation costs will be given to every category winner joining the Lucie event week in New York (Lucie Awards & IPA Best of Show (*). They will also receive the IPA Trophy, which will be awarded at the opening of the curated IPA Best of Show exhibition in New York City, where their winning work will also be featured.   New
* The travel allowance will be given only to those finalists who choose to attend the event, and will be reimbursed to the attendee after the Lucie Awards & IPA Best of Show have concluded.
Prizes for 1st, 2nd, and 3rd prize winners in all sub-categories include:
Printable Winner Certificate and IPA Seal
Publication in the IPA Annual Book of Photography
A curated selection of winning images to be exhibited in the IPA Best of Show Exhibition which opens in New York City during the Lucies, and is shown around the world through the following year.
Receive significant international publicity and extensive media exposure through our online promotional campaign, and magazine and newspaper partners distributing and promoting winners works.
1 Free ticket to attend the Lucie Awards Gala in New York City.
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CA 2020 Photography Competition
Deadline: March 06, 2020
Enter the most prestigious competition for creativity in photography, the Communication Arts Photography Competition. Any photograph first published or produced from March 2019 through March 2020 is eligible. Selected by a nationally representative jury of distinguished designers, art directors and photographers, the winning entries will be distributed worldwide in the Communication Arts Photography Annual, in print and digital editions, and on commarts.com, assuring important exposure to the creators of this outstanding work. As a service to art directors, designers and art buyers, a comprehensive index will carry contact information of the photographers represented.
Each winning entrant will receive a personalized Award of Excellence, milled from solid aluminum, and award certificates issued for firms, individuals and clients.
CA’s Award of Excellence is one of the most-coveted awards in the industry. If chosen, winning places you in the highest ranks of your profession.
What to Enter Any photograph first published or produced from March 2019 through March 2020 is eligible. Entries may originate from any country. Explanation of the function in English is very important to the judges. Submission of entries acknowledges the right of Communication Arts to use them for publication and exhibition.
Photography Competition Categories These categories are judged by the Photography jury and will appear in the Photography Annual. For a list of fees, please download the category PDF:
Advertising: ads, posters, music and product packaging, etc. Books: covers, jackets, interiors, etc. Editorial: consumer or trade magazines, newspapers, etc. For Sale: posters, prints, greeting cards, licensing/stock, gallery sale, online store, etc. Institutional: company/association publications, annual reports, catalogs, client websites, blogs, etc. Motion/Cinematography: time-based media for film, television, video or web, etc. Self-Promotion: promotion for photographers, design firms, ad agencies, art schools, printers, paper companies, etc. Unpublished: experimental/personal work not published. Student Work: photography or cinematography projects created for school assignments.
Late Fees Entries must be registered no later than Midnight (Pacific Standard Time), March 6, 2020. Entries registered after that date require a late fee of $10 per entry. No entries can be registered after March 20, 2020.
Each photograph is a single entry. A printed piece with several photographs must have a dot or some other mark indicating which specific single photograph is to be judged. If a single photograph isn't indicated, the entry will be disqualified.
Campaigns or series are limited to five photographs. If the entry has more than five photographs, indicate which five are to be judged. If this isn't indicated, the entry will be disqualified.
Enter Now
How to Enter All competition entries are processed through our online competition system.
Before you begin the process of entering a competition, please have the following information and materials ready. This will make the process go quickly.
• Your contact information for registration and notification. • Title and basic credits for each project. • Printed copies or digital files of work you want to submit. See below for file specs.
Please submit only one version of each entry (i.e.: do not send printed copies if you already uploaded digital files of the same entry). Entries can be submitted in the following formats:
Print Entries: Must be unmounted and sent to our office by mail/courier. Each photograph is a single entry. A printed piece with several photographs must have a dot or some other mark indicating which specific single photograph is to be judged. If a single photograph isn't indicated, the entry will be disqualified. Campaigns or series are limited to five photographs. If the entry has more than five photographs, indicate which five are to be judged. If this isn't indicated, the entry will be disqualified. Do not tape series together. Any project over 18" x 24" must be submitted as digital images.
Digital Images: Must be RGB in JPG format with a maximum width of 1024 pixels and a maximum height of 768 pixels at 72 dpi. NO EXCEPTIONS. Digital images will be projected for the judges using an HD projector on a 6' x 4' screen.
Motion/Cinematography Entries: Must be in MOV, MP4 or MGPG format, with a maximum file size of 1 GB. Include 4 seconds of black, no slates or bars, at the beginning of each video and 2 seconds at the end.
No entries will be returned. NO EXCEPTIONS. CA is not responsible for damage or loss of any entry. All entrants grant Communication Arts the right to reproduce work selected in the Photography Competition on the Communication Arts website and in materials used to promote the magazine, the competition and/or future related promotions.
Preparation of Packages All pieces sent in physical form must have an entry form taped to the back of the work. Do not send work in poster tubes as they are frequently damaged in transit. Non-United States contestants should mark each package “Materials for Contest Entry. No Commercial Value.” No provision will be made by Communication Arts for U.S. Customs or airport pickup. International entries should be sent by post or international courier. All entries must be received by the final deadline date.
Forms and Entry Fees Once you have completed the registration process, a PDF with a receipt or invoice and entry forms for physical submissions will be generated. You must print, trim and attach the entry forms to the back of your physical entries. If the entry is a print-based campaign, you will tape an entry form to each piece included in the campaign. Entries on disk require an entry form taped to the outside of each disk case. Multiple digital files may be placed on a single disk. Please tape all applicable entry forms one on top of the other so we can flip through them to verify the contents of the disk. Do not send any entries without entry forms attached.
We accept Visa, MasterCard, American Express, Discover and PayPal through our online competition system. Charges for your entry fees will appear on your statement as (“Commarts”). We also accept checks, international money orders and wire transfers. Make checks payable to Communication Arts. Non-United States contestants wishing to pay by check must send a check in U.S. funds drafted on a U.S. bank. Please include the check or money order with your entries if you are delivering them via mail/courier. If your payment is being sent under a separate cover, please include a note with your entries indicating that the check or money order is coming under separate cover. If you submit all of your entries online, please send a copy of the invoice you print out at the end of the entry process with the check or money order. Please note on wire transfers: We require an additional fee of $25 (U.S.) to cover fees charged by the banks to process the transfer.
Refund Policy All entry submissions are final and entry fees are nonrefundable.
Mail entries to: Communication Arts Photography Competition 110 Constitution Drive Menlo Park, CA 94025-1107 USA
(Via United States Mail, FedEx, UPS, etc. Entrants submitting from outside the U.S., please use an international courier.)
Notification of Acceptance Only accepted entrants will be notified within two months after the final deadline date due to the number of entries we receive. Complete credits and any necessary material for the best possible reproduction in the Annual will be requested at that time.
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Calling all travel photographers — the National Geographic Traveller (UK) photography is back and open for entries.
In a bid to find the best talent in the country, our prestigious annual competition invites photographers of all levels from across the UK and Ireland to submit their travel images taken in the past year in one of four categories: Cities, Landscapes, Nature and People.
The grand-prize winner will head to Mexico with National Geographic Journeys; and the Category winners will receive a Manfrotto tripod. Selected entrants will also be included as part of a global press and media campaign, and featured on the National Geographic UK website.
As long as the image is travel-based, the subject matter can be anything of your choosing.
Entries should be submitted by 23 February 2020.
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Nikon’s Small World
Celebrating 45 years of images captured by the light microscope
Nikon’s Small World is regarded as the leading forum for showcasing the beauty and complexity of life as seen through the light microscope. The Photomicrography Competition is open to anyone with an interest in microscopy and photography. The video competition, entitled Small World In Motion encompasses any movie or digital time-lapse photography taken through the microscope.
ENTER THE COMPETITIONS
Deadline for Entries
Apr 30, 2020
Nikon Small World Photomicrography Competition Official RulesNO PURCHASE NECESSARY. A PURCHASE OR PAYMENT OF ANY KIND WILL NOT INCREASE YOUR CHANCES OF WINNING.
1. ELIGIBILITY: The Nikon Small World Photomicrography Competition (the “Competition”) is open only to individuals who are at least eighteen (18) years old at the time of entry and have access to a light microscope. The following individuals are not eligible to enter the Competition: (a) employees of Nikon Instruments Inc., Shaw & Todd, Inc., their respective parent companies and affiliated companies, and/or the immediate family (spouse, parents, siblings and children) and household members of each such employee, (b) the Competition Judges, regardless of the date of appointment, and/or their immediate family and household members, and/or (c) individuals engaged (as a business owner or employee) in the manufacture, distribution and/or sale of microscopes, related accessories and/or photographic equipment. PARTICIPATION IN THE COMPETITION AND/OR THE RECEIPT OF ANY PRIZE MAY BE RESTRICTED OR VOID WHERE PROHIBITED.
2. SPONSOR: Nikon Instruments Inc., a Delaware corporation, 1300 Walt Whitman Road, Melville, NY 11747. ADMINISTRATOR: Shaw & Todd, Inc., 5 Warren Drive, Marlboro, New Jersey 07746.
3. AGREEMENT TO OFFICIAL RULES: Participation in this Competition constitutes the entrant’s (“you,” “your” or the “Entrant”) full and unconditional agreement to these Official Rules and Sponsor and/or Administrator’s decisions, which are final and binding in all matters related to this Competition. Winning a prize is contingent upon fulfilling all requirements set forth herein.
4. TIMING: Sponsor will receive entries to the Competition beginning on May 1, 2019 at 12:00 a.m. Eastern Time USA ("ET") and ending on April 30, 2020 at 11:59 p.m. ET (the "Competition Entry Period"). Sponsor's computer is the official time-keeping device for the Competition.
5. HOW TO ENTER: During the Competition Entry Period, visit
www.nikonsmallworld.com
(the “Website”) and:
(a) Follow the links and instructions to complete the Competition entry form (the “Entry Form”), including your name, telephone number, email address, a valid home address (P.O. Boxes are not permitted), country, the school, institution or other organization the Entrant is affiliated with (the “Affiliation”) and the address of such Affiliation, the type, make and model of the equipment used to capture the entry(ies) submitted to this Competition, a description of each image submitted, and other information requested by Sponsor (collectively, the “Registration Information”);
(b) Upload up to three (3) photomicrographic digital images taken by the Entrant (collectively, the “Images”) to the Entry Form.
(c) Indicate your agreement with these Official Rules and that Sponsor may contact Entrant regarding this Competition using any of the Registration Information submitted on the Entry Form, by checking the box displayed on the Entry Form and submitting the Entry Form together with all Registration Information and Images.
The Registration Information and Images are both required to enter this Competition and are hereinafter collectively referred to as your “Submission.” Submissions will be accepted only until the end of the Competition Entry Period, that is, April 30, 2020 at 11:59 p.m. ET. By uploading your Submission, you represent, warrant and agree that your Submission conforms to the Guidelines and Restrictions set forth below (collectively, the “Guidelines and Restrictions”) and that Sponsor and/or Administrator, in their sole discretion, may remove your Submission and disqualify you from the Competition if it believes, in its sole discretion, that your Submission fails to conformin any way whatsoever to the Guidelines and Restrictions. All Submission files will be retained by Sponsor and will not be returned to the Entrant.
Guidelines and Restrictions
Images must be submitted in .jpeg, .png, .psd, or .tiff format.
Images should be submitted with the highest quality with regard to file size, bit depth and resolution.
Images do not need to be taken with a Nikon-branded microscope.
Images must be taken by Entrant using a light microscope. Images taken with an electron or any other microscope(s) that do not capture imagery using optical light technology are not eligible.
Macro photography is not eligible.
Images that have competed previously in any active or ongoing photomicrography competition, and/or that have won any other photomicrography competition, are not eligible.
The Submission must be in the English language.
The Submission must not contain material that violates or infringes another’s rights, including but not limited to trademark, privacy, publicity or other intellectual property rights, or that constitutes copyright infringement.
The Submission must not disparage Sponsor, Administrator or any other person or entity.
The Submission must not contain brand names, logos and/or trademarks; any URL addresses; and/or the names, addresses, phone numbers, email addresses, image, and/or likenesses of third parties.
The Submission must not contain viruses, Trojan horses, worms, bots, spyware or any other computer code that is intended to or does damage, interfere with and/or surreptitiously intercept or expropriate any system, data or information.
The Submission must not contain material that is inappropriate, indecent, discriminatory, obscene, hateful, tortious, defamatory, slanderous or libelous, or contain material that is otherwise unlawful, in violation of or contrary to any applicable laws or regulations.
Each Entrant may upload a maximum of three (3) Images during the Competition Entry Period. Submissions received from any person or email address in excess of the stated limit will be void. Submissions generated by script, macro or other automated means are void. Entrant represents and warrants that he or she owns the rights to the Submission and has the full right and authority to submit the Submission to the Competition.
In the event of a dispute as to any Submission, the authorized account holder of the email address used to register will be deemed to be the Entrant. The "authorized account holder" is the natural person assigned an email address by an Internet access provider, online service provider or other organization responsible for assigning email addresses for the domain associated with the submitted address. Each Entrant may be required to show proof of being an authorized account holder.
6. PUBLICITY: Entering a Submission to the Competition constitutes Entrant’s express consent that if awarded a Prize (as hereinafter defined), Entrant agrees and grants to Sponsor and its affiliates, agencies, dealers, distributors, resellers, licensees, media outlets used, successors and assigns, and/or Administrator (collectively, the “Nikon Parties”) a non-exclusive, worldwide, royalty-free, fully-paid, irrevocable, perpetual right and license to reproduce, modify, post, publish, edit, reformat, shorten, display and/or otherwise use Entrant’s Images and/or Entrant’s name, city, country, and/or Affiliation, in whole or in part, for promotional, trade, marketing and/or publicity purposes solely in connection with the Competition, in any form, media or technology now known or later developed including but not limited to websites, social media pages, printed materials, traveling exhibits, the Nikon Small World calendar, in emails, and/or at trade shows and events, without any compensation, notification, permission or other consideration. If requested, Entrant will sign any releases and/or other documentation that may be required for Sponsor and/or other Nikon Parties to make use of the rights Entrant is granting to use the Submission as described herein. Subject to the foregoing license, Entrant shall retain ownership of the copyright to the Images. Each winner accepts and acknowledges that Sponsor shall not be obligated to use the Submission or any part thereof, and that Sponsor in its sole discretion shall have the right to refrain from using the Submission. Sponsor shall not incur any liability whatsoever to the extent Sponsor chooses to refrain from any exploitation of its rights hereunder.
7. WINNER DETERMINATION: After the Competition Entry Period, a panel of qualified judges determined by Sponsor and/or Administrator in their sole discretion (the “Judges”) will select the twenty (20) Entrants (the "Finalists") from among all eligible Submissions based on the following criteria (“Judging Criteria”):
Creativity/Originality
Informational Content
Technical Proficiency
Artistic and Visual Impact
The Judges will determine the first (1st) place through twentieth (20th) place winners based on the Judging Criteria. Separate Honorable Mention and Images of Distinction awards may be awarded in the sole discretion of the Judges. Sponsor and/or Administrator reserves the right to select fewer than twenty (20) Finalists, if, in its sole discretion, it does not receive at least twenty (20) eligible and qualified Submissions.
8. WINNER REQUIREMENTS: Potential winners will be notified by email, mail or phone on or around August 15, 2020 that they have won a Prize in the Competition and that the specific Prize level awarded will be publicly announced on or around October 15, 2020. Each potential winner (or parent/legal guardian if a minor in his/her jurisdiction) will be required to sign and return a Certification of Eligibility, Liability and Publicity Release and applicable tax forms, which must be received by Administrator within seven (7) days of the date notice or attempted notice is sent, in order to claim the Prize. If a potential winner cannot be contacted, fails to execute and return the Certification of Eligibility, Liability and Publicity Release and tax forms or provide any other requested information within the required time period, does not comply with these Official Rules, or a Prize is returned as undeliverable, then the potential winner forfeits the Prize. If a potential winner is disqualified for any reason, the Prize may be awarded to a runner-up, if any, in Sponsor and/or Administrator’s sole discretion. Prizes will be fulfilled within eight (8) weeks after the confirmation of the winners. In the event the winning Entrant requests that Sponsor credit additional individuals with respect to the winning Submission in any Competition publicity, such mention may be included, declined and/or omitted by Sponsor in Sponsor’s sole discretion.
9. PRIZES: There will be twenty (20) winners ranked from first (1sT) place through twentieth (20th) place, plus Honorable Mention prizes, and prizes for images of distinction if and as determined by the Judges (collectively, the “Prizes”).
First Prize: Three Thousand U.S. Dollars ($3,000.00)
Second Prize: Two Thousand U.S. Dollars ($2,000.00)
Third Prize: One Thousand U.S. Dollars ($1,000.00)
Fourth Prize: Eight Hundred U.S. Dollars ($800.00)
Fifth Prize: Six Hundred U.S. Dollars ($600.00)
Sixth Prize: Four Hundred U.S. Dollars ($400.00)
Seventh, Eighth, Ninth and Tenth Prizes: Three Hundred U.S. Dollars ($300.00) each.
Eleventh, Twelfth, Thirteenth, Fourteenth, Fifteenth, Sixteenth, Seventeenth, Eighteenth, Nineteenth and Twentieth Prizes: Two Hundred U.S. Dollars ($200.00) each.
Honorable Mentions: One Hundred U.S. Dollars ($100.00) each. The number of Honorable Mention Prizes will be determined by the Judges in their sole discretion.
Images of Distinction: One (1) Nikon-branded backpack having a retail value of approximately Thirty-Five (USD$35.00) Dollars (the “Bag”). The number of Images of Distinction Prizes will be determined by the Judges in their sole discretion.
All Prizes except for the Bag will be awarded in the form of a Visa gift card preloaded in the amount of the Prize in U.S. Dollars (the “Gift Card”). Visa is not a sponsor of or otherwise associated with this Competition. The Gift Card is subject to Visa’s applicable terms and conditions, which may include an expiration date for use. Winners are solely responsible for any and/or all taxes and fees associated with the receipt and/or use of any Prize. Each Prize shall be awarded in full to the winner who is the registered Entrant. Prizes will not be awarded, split or apportioned between or among multiple individuals.
All Prizes are non-transferable and no substitution will be made except at the Sponsor’s sole discretion. Sponsor reserves the right to substitute a Prize for one of equal or greater value if the designated Prize should become unavailable for any reason. The Bag and/or any item awarded in substitution of the Bag is provided “as-is” without any warranties or guarantees whatsoever of any kind, express or implied, including but not limited to warranties of merchantability or fitness for a particular purpose.
There is a limit of one (1) Prize per Image submitted to the Competition. Any Entrant who has won the First Prize in any of the three (3) Nikon Small World Competitions immediately preceding this Competition are not eligible to win the First Prize in this Competition, but may win other Prizes.
10. RELEASE: By receipt of any Prize, winners agree to and shall release, indemnify and hold harmless Sponsor, Administrator and the other Nikon Parties, and each of their respective parent companies, subsidiaries, affiliates, suppliers and agencies and each such company’s officers, directors, employees and agents (collectively, the “Released Parties”) from and against any claim, damage, losses, liabilities, causes of action, costs and expenses (including but not limited to reasonable attorneys’ fees) including, but not limited to, personal injury, death, or damage to or loss of property, arising out of any breach of these Official Rules, participation in the Competition, receipt or use or misuse of any Prize, and/or claims by any individual(s) associated with the winning Entrant or Submission that they are entitled to all or any portion of a Prize.
11. GENERAL CONDITIONS: Sponsor reserves the right to update, change or modify these Official Rules in its sole discretion without notice. Sponsor reserves the right to cancel, suspend and/or modify the Competition, or any part of it, if any fraud, technical failures, human error or any other factor impairs the integrity or proper functioning of the Competition, as determined by Sponsor and/or Administrator in their sole discretion. If terminated, Sponsor may, in its sole discretion, determine the winners from among all non-suspect, eligible Submissions received up to time of such action using the judging procedure outlined above. Sponsor and/or Administrator, in their sole discretion, reserve the right to disqualify any individual it finds to be tampering with the Submission process or the operation of the Competition or to be acting in violation of the Official Rules of this or any other promotion or in an unsportsmanlike or disruptive manner and void all associated Submissions. Any attempt by any person to deliberately undermine the legitimate operation of the Competition may be a violation of criminal and civil law, and, should such an attempt be made, Sponsor reserves the right to seek damages and other remedies (including but not limited to attorneys’ fees) from any such person to the fullest extent permitted by law. Sponsor’s failure to enforce any term of these Official Rules shall not constitute a waiver of that provision.
12. LIMITATIONS OF LIABILITY: Released Parties are not responsible for: (1) any incorrect or inaccurate information by any cause including without limitation, printing, typographical or other errors or by any of the equipment or programming associated with or utilized in the Competition; (2) technical failures of any kind, including, but not limited to malfunctions, interruptions, or disconnections in phone lines or network hardware or software; (3) unauthorized human intervention in any part of the Submission process or the Competition; (4) printing, typographical, technical, computer, network or human error which may occur in the administration of the Competition, the uploading, the processing or judging of Submissions or votes or the tabulating of votes, the announcement of the Prizes or in any Competition related materials; (5) late, lost, undeliverable, incomplete, invalid, damaged or stolen mail; or (6) any injury or damage to persons or property which may be caused, directly or indirectly, in whole or in part, from Entrant’s participation in the Competition or receipt or use or misuse of any Prize (including any travel/activity related thereto). Released Parties are not responsible for lost, damages, misdirected and/or undeliverable Submissions or for any technical problems, malfunctions of computer systems, servers, providers, hardware/software, lost or unavailable network connections or failed, incomplete, garbled or delayed computer transmission or any combination thereof. Released Parties are not responsible for any unauthorized third party use of any Submission.
13. DISPUTES: Entrant agrees that: (1) any and all disputes, claims and causes of action arising out of or connected with this Competition or any Prize shall be resolved individually, without resort to any form of class action, and exclusively by the courts located in Suffolk County, New York, USA; (2) any and all of Entrant’s claims, judgments and awards shall be limited to reasonable and actual out-of-pocket costs incurred, including costs associated with entering this Competition, but in no event attorneys’ fees; and (3) under no circumstances will Entrant be permitted to obtain awards for, and Entrant hereby waives all rights to claim, indirect, punitive, incidental and consequential damages and any other damages, other than for actual out-of-pocket expenses, and any and all rights to have damages multiplied or otherwise increased. All matters, issues and/or questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or the rights and obligations of the Entrant, Sponsor and/or Administrator in connection with the Competition, shall be governed by, and construed solely in accordance with, the laws of the State of New York, USA, without giving effect to any choice of law or conflict of law rules (whether of the State of New York or any other jurisdiction), which would cause the application of the laws of any jurisdiction other than the State of New York.
14. ENTRANT'S PERSONAL INFORMATION:
Neither Sponsor nor Administrator will use the Entrant’s Registration Information or share it with any third parties for any purpose, except as expressly permitted under Section 6 of these Official Rules, and/or to the extent elected by Entrant as described below in this Section 14.
Prior to entering a Submission in the Competition, each Entrant will be requested on the Entry Form to indicate his or her preferences regarding how Sponsor may use Entrant’s name, address and/or email address to contact Entrant for certain purposes such as (a) to advise the Entrant of future Competitions and/or invite the Entrant to enter such Competitions, and/or (b) to offer and/or send the Entrant a Nikon Small World calendar that includes the Competition’s winning entries. If Entrant does not tick the box next to the applicable type of communication indicating consent to receiving such communication, then Sponsor will not contact Entrant for that purpose. Upon receipt of any communications from Sponsor to which Entrant has previously consented to receiving, the Entrant may “opt out” of receiving future emails by following the link and instructions contained within the email received.
15. WINNER LIST: The winners of the Competition will be announced publicly on the Website and various online media outlets on or around October 15, 2020. To request a list of the winners of this Competition, you may send an email to
after October 31, 2020.
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Sony World Photography Awards
13 year partnership with Sony bringing you one of the world's leading photography competitions
The Sony World Photography Awards has four competitions:
Professional - Recognising outstanding bodies of work
Open - Rewarding exceptional standalone images
Youth - Celebrating the best single images by emerging photographers aged between 12-19 years-old
Student - Providing a platform for photography students worldwide
The Awards are your chance to have your work recognised globally and has the power to change the careers of those who win and are shortlisted. The democratic approach of the Awards means all artists working across photography have equal opportunity to win and be seen by leading industry experts.Every competition is free to enter and categories are designed to be open to all photographic genres and abilities.Successful photographers can receive:Inclusion in global and country-specific media and marketing campaigns Exhibition at Somerset House, London Potential to be included in international exhibitions Inclusion in the Sony World Photography Awards book Opportunity to apply for the Sony Grant to further personal photographic projects The World Photography Organisation has a thriving online presence and creates dedicated campaigns to give unprecedented worldwide exposure to the Awards' successful photographers across its social media platforms, mailers and website.
By/Anuuddha Lkuhapuarachchi
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