Themes

SUBJECT MATTER AND SECTION DEFINITIONS

Statement on Subject Matter - applicable to all sections

The fundamental rule that must be observed at all times and applies to all sections offered in exhibitions with PSA recognition is that the welfare of living creatures is more important than any photograph. This means that practices such as baiting of subjects with a living creature and removal of birds from nests, for the purpose of obtaining a photograph, are highly unethical, and such photographs are not allowed in any exhibition with PSA recognition.  Under no circumstances may a living creature be placed in a situation where it will be killed, injured or stressed for the purpose of obtaining a photograph. Images that show live creatures being fed to captive animals, birds or reptiles are not permitted under any circumstances.

There are also concerns about the use of aerial photography, drones, helicopters, low flying aircraft. These should not cause any interference with other individuals or animals which causes a disturbance in their normal activity or disrupt the way any individuals or animals interact with their environment.  Entrants in PSA recognized exhibitions should comply with all relevant laws and regulations, associated with aerial photography, in the country in which the image was taken.  

Entry into PSA recognized exhibitions is conditional on accepting these policies.  The content of images must comply with the General Conditions and with the Division and Section definitions listed in these conditions. Images that - in the sole opinion of the judges or the Exhibition Organizers - do not comply, will be disqualified so the entrant may be aware of the problem when considering entry into other exhibitions with PSA recognition

PSA Monochrome Definition

An image is considered to be Monochrome only if it gives the impression of having no color (i.e. contains only shades of grey which can include pure black and pure white) OR it gives the impression of being a greyscale image that has been toned in one color across the entire image. (For example by Sepia, red, gold, etc.)  A greyscale or multi-colored image modified or giving the impression of having been modified by partial toning, multi-toning or by the inclusion of spot coloring does not meet the definition of monochrome and shall be classified as a Color Work.

FIAP Definition of Monochrome

A black and white work fitting from the very dark grey (black) to the very clear grey (white) is a monochrome work with the various shades of grey. A black and white work toned entirely in a single colour will remain a monochrome work able to stand in the black and white category; such a work can be reproduced in black and white in the catalogue of a salon under FIAP Patronage. On the other hand a black and white work modified by a partial toning or by the addition of one colour becomes a colour work (polychrome) to stand in the colour category; such a work requires colour reproduction in the catalogue of a salon under FIAP Patronage.

Greyscale Monochrome images may be entered for Nature, Photojournalism, and Photo Travel but toned images are not permitted for these sections.

Monochrome images may not be entered in Pictorial Prints or PID Color Sections.  Separate sections must be offered for Color Pictorial Prints, Monochrome Pictorial Prints, PIDC and PIDM.

Editing Guidelines for Nature, Photojournalism and Photo Travel

These sections require images to be truthful records, so there are limits on the amount of manipulation allowed.

Editing Guidelines

Processing or editing must be limited to making the image look as close to the original scene as possible, except that conversion to grayscale monochrome is allowed.

Allowed editing techniques:

• Cropping, straightening and perspective correction.
• Removal or correction of elements added by the camera or lens, such as dust spots, noise, chromatic aberration and lens distortion.
• Global and selective adjustments such as brightness, hue, saturation and contrast to restore the appearance of the original scene.
• Complete conversion of color images to grayscale monochrome.
• Blending of multiple images of the same subject and combining them in camera or with software (exposure blending or focus stacking);
• Image stitching – combining multiple images with overlapping fields of view that are taken consecutively (panoramas);

Editing techniques that are not allowed:

• Removing, adding to, moving or changing any part of an image, except for cropping and straightening.
• Adding a vignette during processing.
• Blurring parts of the image during processing to hide elements in the original scene.
• Darkening parts of the image during processing to hide elements in the original scene.
• All conversions other than to complete grayscale monochrome.
• Conversion of parts of an image to monochrome, or partial toning, desaturation or over-saturation of color

For the purpose of this exhibition any border added to a digital file must be a single border of white or grey, no greater than 3-5 pixels in width.

PSA/FIAP Nature Definition

Nature photography records all branches of natural history except anthropology and archaeology. This includes all aspects of the physical world, both animate and inanimate, that have not been made or modified by humans.

Nature images must convey the truth of the scene that was photographed. A well-informed person should be able to identify the subject of the image and be satisfied that it has been presented honestly and that no unethical practices have been used to control the subject or capture the image. Images that directly or indirectly show any human activity that threatens the life or welfare of a living organism are not allowed.

The most important part of a Nature image is the nature story it tells. High technical standards are expected and the image must look natural. Adding a vignette or blurring the background during processing is not allowed.

Objects created by humans, and evidence of human activity, are allowed in Nature images only when they are a necessary part of the Nature story.

Photographs of human-created hybrid plants, cultivated plants, feral animals, domesticated animals, human-created hybrid animals and mounted or preserved zoological specimens are not allowed.

Images taken with subjects under controlled conditions, such as zoos, are allowed.

Controlling live subjects by chilling, anaesthetic or any other method of restricting natural movement for the purpose of a photograph is not allowed.

No modification that changes the truth of a Nature image is allowed. Images may be cropped but no other technique that removes, adds or moves any part of the image is allowed.

Techniques that remove elements added by the camera, such as dust spots, digital noise and lens flare are allowed.

Complete conversion of colour images to greyscale monochrome is allowed. Partial conversion, toning and infrared captures or conversions are not allowed.Images of the same subject that are combined in-camera or with software by focus stacking or exposure blending are allowed. Multiple images with overlapping fields of view that are taken consecutively and combined in-camera or with software (image stitching) are allowed.

Attention is drawn to the PSA Statement on Subject Matter which applies to all sections and to the Editing Guidelines for Nature, Photojournalism and Photo Travel

PSA Photojournalism Definition

Photojournalism entries are images with informative content and emotional impact, reflecting the human presence in our world.

Content Guidelines

• The journalistic (story-telling) value of the image should receive priority over pictorial quality.
• Images that misrepresent the truth, such as those from events or activities arranged specifically for photography, or of subjects directed or hired for photography, are not eligible.
• A number of images (typically 2-4), each with a small white border, may be combined into a single image that depicts a progression of events or related activity.

Attention is drawn to the PSA Statement on Subject Matter which applies to all sections and to the Editing Guidelines for Nature, Photojournalism and Photo Travel

For the purpose of this exhibition any border added to a digital file must be a single border of white or grey, no greater than 3-5 pixels in width.

Street

entries into Street Section must abide by the PJD definition

Street photography uses the techniques of straight photography in that it shows a pure vision of something, like holding up a mirror to society. Street photography often tends to be ironic and can be distanced from its subject matter, and often concentrates on a single human moment, caught at a decisive or poignant moment. On the other hand, much street photography takes the opposite approach and provides a very literal and extremely personal rendering of the subject matter, giving the audience a more visceral experience of walks of life they might only be passingly familiar with.

Street photography is a non-formalised genre of photography that features subjects in candid situations within public places such as streets, parks, beaches, malls, political conventions and other associated settings. Alternatively, the street photographer may seek a more prosaic depiction of the scene, as a form of social documentary.

It is a branch of realistic fine-art photography that records unposed scenes in public places (streets, parks, restaurants, stores, museums, libraries, airports; train, bus, and subway stations, etc.)

The primary subject is people, at rest or in motion, alone or with others, going about the every-day activities of life (walking, sitting, standing, waiting, reading, eating, talking, listening, laughing, daydreaming, greeting, parting, working, playing, shopping, viewing art, sightseeing, etc.).

The emphasis is not on the subject’s personal identity, as in portraiture. And unlike photojournalism, there is no news here, rather, the commonplace; although, the line between photojournalism and street photography is often blurry. Many of the best street photographers were photojournalists. Unlike travel photography, that aims to entice the viewer to visit a certain place or to fondly remember it, location is relatively unimportant, though busy cities with interesting architecture are commonly seen in these works.

The primary emphasis is on capturing a fleeting composition, a temporary arrangement of lines, forms, textures, and tones—balanced within a rigid frame. While such photographs often document clothing styles or automobile design, these details are subordinate to the artistic elements; whereas, in strict documentary photography, content is more important than artistry. In street photography, the image can be sharp or blurred and impressionistic. Many images feature strong graphic elements which—considered separately—constitute interesting geometric patterns.

Consistent with their overwhelming interest in composition, many street photographers—not all—shoot with a black and white final image in mind, eschewing color as a distraction. Another reason for this is the generally-conservative nature of the discipline. The early masters are revered and emulated, their styles and shooting techniques studied.

Some purists not only insist on shooting unposed scenes, they attempt to compose entirely in-camera, without cropping. Finally, the tone of these images tends to be positive, celebrating life and its fleeting nature in the very act of seeing and seizing and sharing momentary beauty and meaning with the viewer.

Face & Body

The center of interest is the human face and body in all its forms and manifestations. Portrait and fine art nude photography. Portraits of people of all colors, races, religions, the whole range of human feelings. Live photography, outdoor photography as well as studio portraits. Men, women, children. The human face as a reflection on emotion and life experience. Fine-art photography, taken outdoors or under studio conditions, full of idea, creativity, with a touch of erotic mood, which depicts the nude human body with an emphasis on form, composition, emotional content, and other aesthetic qualities.

Aerial Photography Policies (ethical): One of the tenets of photography is that the safety and well-being of the subject, photographer and surroundings is of paramount importance over the capturing of the photograph. The purpose of this section is to prevent any interference with other individuals or animals which will or may cause a disturbance in their normal activity or disrupt the way an individual or animal interacts with its environment.

1. May not fly a drone above people for the purpose of photographing their activity, unless permission is granted in writing
2. May not fly or photograph animals in their natural habitat, especially nesting areas and locations where the animal is already under stress (winter survival, migratory feeding, protecting young). Photographing scenery/landscapes is permissible.
3. May not fly or photograph in any designated wilderness area

Aerial Photography (International): Many countries have their own rules and regulations governing aerial photography, especially drone, usage. It is the responsibility of the Photographer (pilot) to be informed of the polices of the country or region in which they are flying (photographing). When submitting aerial images that depict a foreign country the photographer must include a statement that all applicable rules and regulations of that country have been observed.

Woman

Show us womans in all situations, such as daily life, street photography, traditions, portrait, people at work, social events, human relations and etc. The main subject in the photo must be one or more womans.

Fine art nude woman photography is a genre of fine-art photography which depicts the nude woman body with an emphasis on form, composition, emotional content, and other aesthetic qualities. The nude has been a prominent subject of photography since its invention, and played an important role in establishing photography as a fine art medium. The distinction between fine art photography and other subgenres is not absolute, but there are certain defining characteristics.