Images capturing the likeness of a person or a small group of people, in which the face and its expression is predominant.
Snap shots and street photography where people are predominant in the scene – quoting Cartier Bresson: the “decisive moment”.
CULTURE AND DAILY LIFE
This is the category for travel photography displaying the different cultures around the globe. But also the category to display images about the daily life of the family, people at work, ceremonies and rituals, games people play and children at school…
When the photographer creates a portrait of him- or herself; it could be alone or with other people if the composition configures a desired environment.
From traditional wedding photography (classically posed images) to photojournalistic wedding photography (editorial reporting styles focusing on candid and unposed images). From weddings in different cultures to contemporary/fashion-based wedding photography, where photojournalistic images of the events of the day are combined with posed images that are inspired by editorial fashion photography as would be found in magazines.
The visual presentation of children as individuals.
FIGURE AND NUDE
Composed image of a person in a still position; an art form, where the photography of a nude or the human figure is a stylized depiction of body with the line and form of the human figure as the primary objective; it is a photograph that studies the human body rather than the person; as opposed to a portrait may not show a face at all.
This category is perhaps the hardest to define because it’s hard to say that there’s a consensus regarding the definition of the term “fine art”. To us, and for the purpose of the WPGA 2010 Annual Competition and the Pollux Awards, fine art photography stands in contrast to photojournalism and commercial photography. While photojournalism provides visual support for stories, mainly in the print media, and commercial photography's main focus is to sell a product or service, fine art is a photography done to express the artist's perceptions and emotions and to share them with others.
The Art & Architecture Thesaurus states that "fine art photography" (preferred term) or "art photography" or "artistic photography" is "the movement inEngland and the United States, from around 1890 into the early 20th century, which promoted various aesthetic approaches. Historically, has sometimes been applied to any photography whose intention is aesthetic, as distinguished from scientific, commercial, or journalistic; for this meaning, use 'photography'. Having say that, we cannot avoid that digital technology has produced a real revolution in the photographic aesthetic. It is most probable that a contemporary image that fits into the category Digital Enhanced (meaning Digital Manipulation or Digital Generated) may also fit into the Fine Art Category. In this sense, a photography submitted to Landscape, Nature or Portrait –just naming a few- may also fit in the Fine Art Photography category. Jurors will hardly reject a photograph submitted to a determinate category because they feel it “doesn’t fit”. Jurors know that everything depends on the interpretation of the artist. Jurors will judge an image in the fine art category according to its art value, and will judge an image in the documentary category according to the story being told (besides its artistic value). Therefore, every participant is free to use you own interpretation of the meaning of fine art. However we think that a aesthetic expressing your perception of a nude, a flower, a building, a landscape, a portrait or a bridge (or even an advertising or fashion shot –for us most of Richard Avedon’s fashion images are commercial and fine art at the same time; and so are digital manipulated Gursky’s images), is what will make your image artistic, a fine art work of art to be displayed, shared, and sold.
Photographing the landscape is the most enduring activity in the history of the medium. More prints of picturesque ruins and leafy glades have been made, sold, and seen than those of any other genre. From photography's hesitant beginnings in 1835, when Henry Talbot placed his ‘mousetrap’ camera in the grounds of Lacock Abbey to record a group of trees against the skyline, landscape has appealed to photographers everywhere. Landscape category comprises images of the visible features of an area of land, including physical elements such as landforms, living elements of flora and fauna, abstract elements like lighting and weather conditions, and human elements like human activity and the built environment.
Town and countryside. The increased shift in the demographic balance altered perceptions of both environments for the photographers. This category includes urban landscapes images, and as in the previous category it may include human elements and activity, as well as the built environment.
ANIMALS AND WILDLIFE
Under this category falls all images related to domestic and wildlife animals. From family pets to species in danger of extinction.
In this category we would like to see images of living plants and animals, geological processes, weather conditions, water, wild animals, rocks, forest and beaches, and all kind of "natural environment" that have not been substantially altered by humans, or which persist despite human intervention.
Images in this category may include. views of the exteriors and interiors of domestic, commercial, religious, institutional, and engineering structures, as well as records of the evolution of towns and cities.
Abstract is usually opposed to representational or figurative in photography. An abstract image only represents its own form, and that form might in some way represent some larger concept, but it doesn't represent an object (like, say, the Eiffel Tower). Some works (Andy Warhol's Brillo boxes, for example) raise the question of what is abstraction. Such works tend to be figurative on a literal level, but they are not really about the thing they are a figure of. Objective abstract art will present a recognizable subject in an unusual way. Non-objective abstract art will present lines, form and colors full of light and energy that flow from a non recognizable subject.
MACRO AND MICRO
In macro photography all kind of close-up images is accepted provided the image projected on the film plane (i.e. film or digital sensor) is close to the same size as the subject. In the same category images that are result of a magnifying for viewing will also accepted.
Image in which an arrangement of diverse inanimate objects, including items of food, plants and artifacts is depicted.
Images of all types of sports fit into this category. Although it is generally consider a branch of photojournalism, WPGA will like to see al so images of all the environment that surrounds the different types of sports, including the public.
Images of portraits, people and figure participating or accomplishing a performing art such as dance, music, drama.
Images displaying clothes and other fashion items. Images submitted does not need to be part of a commercial assignment; it can be a self promotion photograph or series.
This category is related to all kind of photographs made to illustrate and usually sell a service or product. As in the Fashion category, images or series submitted can be images made by the er for self promotion.
EDITORIAL AND CURRENT AFFAIRS
This category refers to any type of photojournalism, but it also may be an amateur, artistic or project pursuit, attempting to produce truthful, objective –and even candid photography- of a particular subject where people is the focus of the scene. Through these images the viewer learns truth information about cultural, political and environmental situations.
Since the early times of photography – in the days of Alfred Stieglitz, Paul Strand, Edward Steichen, Jacob Riis, Ernest J. Bellocq, and many others – photography has been a witness to life in moments of joy and drama. Recognizing photography’s history, WPGA strongly feels it has a social responsibility to the most needy throughout world and this category recognizes the effort of those photographers that provides a window to the otherwise invisible events outside the reach of the “civilized” world. We would like to see images of hope but at also images and series that expose the crude realities and tragedies of the neediest and malnutrition, their unsafe living conditions, lack of educational opportunities, and much more.
This category is for images or series displaying the environment and all its many aspects as their subject. These images may document or record events of general or specific environmental interest, for example, the work of environmental pressure groups or the actions of companies or individuals that are having a negative (or indeed positive) impact on environments. Single images and series documenting natural disasters such as earthquakes, as well as of manmade disasters such as oil spills from tankers are also included in this very broad category. The purpose behind this type of images is not solely to record a news story, but also to broaden our understanding of our environment and of mankind's impact upon it. Images should challenge preconceptions and in so doing alter thinking and behavior.
In this case the term alternative process refers to any non-silver based photographic printing process. Alternative processes are often called historical, or non-silver processes, such as gum bichromate, print-out paper, platinum, palladium, cyanotype, collotype, carbo and albumen. All kind of alternative processes and mixed techniques are accepted in this category,
By Digital Manipulation we understand a photo manipulation where image editing is done to create an illusion or deception (in contract to mere enhancement or correction) through digital means. The manipulation of the image is often much more explicit than subtle alterations to color balance or contrast. Image editing software can be used to apply different effects and warp the image until the desired result is achieved. The resulting image may have little or no resemblance to the photo (or photos in the case of compositing) from which is originated.
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