Antarctic Photographic Exhibition Showcases Icy Wilderness

The Antarctic Photography Exhibition has opened at the Tasmanian Museum and Art Gallery as part of the Australian Antarctic Festival. All photographs were taken in recent years in Antarctica and the sub-Antarctic and were submitted by professional and amateur photographers from Greenland, Italy, New Zealand, Australia and Antarctica. Australian Antarctic Festival director Paul Cullen said the competition was narrowed down to 24 images to make up the exhibition. I am pleased to say the exhibition includes two of my personal favourite images from Antarctica (that have also been named as finalists).Ice Fortress HMAS Penguin Pool

The finalists selected for exhibition are:

  1. Nicole Anderson – Port Lockroy, Antarctica
  2. Nicole Anderson – Ice Cave Antarctica
  3. Helen Baird – Catch of the Day
  4. Barend Becker – King Penguins Leaving The Station At MacquarieIsland
  5. Karl Betteridge – Dive Comp
  6. Thomas Burns – The Sea Lion and the Skua
  7. Chad Carey – Orca Antarctica
  8. Tony Flemming – Aurora Basin Camp
  9. Brett Free – Angel Wings
  10. Jarrod Hodgson – Macquarie Island Sun – Australia’s sub-Antarctic From a Drone
  11. Joshua Holko – HMAS Iceberg
  12. Joshua Holko – The Fortress
  13. Kate Lawrence – Gadgets Gully, The Isthmus and North Head, Macquarie Island
  14. Sarah Lockyer – Adventures in Observation, Paradise Bay, Antarctic Peninsula
  15. David Lomas – Helicopter Resources AS350B3e helicopters loaded onto a RAAF C17
  16. Gianluca Lombardi – Reflections
  17. Rob Massom – Cold Hard Light of Day
  18. Shane Ness – Aurora Over Mawson Station
  19. Nick Roden – Defiant Legacy
  20. James Stone – King Penguin Collar Detail
  21. Doug Thost – Self Portrait with the Aurora
  22. Chris Wilson – Ice Berg With Penguins
  23. Eric Woehler – Rockhopper Penguin
  24. Jennifer Wressel – The Meeting

Natures Best Photography 2016 Highly Honoured Polar Passion

A few days ago I returned home to Australia from back-to-back expeditions and workshops to Svalbard and Iceland (trip reports coming soon). I was very pleasantly surprised to find on my return that one of my photographs that made the finals in the Polar Passion category of Natures Best Photography this year has subsequently been Highly Honoured and chosen for inclusion in the 2016 Natures Best Photography exhibition and book. See below for a complete list of the winners and highly honoured photographers.

The photograph was taken on my 2015 Summer Svalbard expedition (read the trip report). If you would like to travel to Svalbard and photograph Wild Polar Bears there are now only a couple of places remaining on my summer expedition next year 2017 before it will be sold out. To get an idea of what these expeditions are like be sure to watch the video Kingdom of the Ice Bear from our 2015 expedition.

The Nature’s Best Photography Windland Smith Rice International Awards staff is proud to announce the names of the photographers who will be displayed in our upcoming 2016 Nature’s Best Photography Windland Smith Rice International Awards Exhibition at the Smithsonian’s National Museum of Natural History in Washington, DC. The Windland Awards exhibition will open to the public on October 19, 2016 and run through 2017. 
Svalbard-1928-EditNaturesBest2016KingdomoftheiceBear

Because I Compete with Myself at APPA

The Australian Professional Photography Awards recently wrapped up in Melbourne Australia and now is the time to consider any possible rule changes for the future. Should photographers and entrants have to retouch their own work, or should we properly credit the retoucher and printer with their work?

I recently wrote down my thoughts on this thorny topic and they were subsequently published in the latest edition of the AIPP Journal.

I read with interest the latest opinion pieces “Challenge, But Please Don’t Denigrate!” and “Low Scores = Inexperienced Judges?” by good friend Peter Eastway in the previous AIPP Journal. Peter and I do not always see eye-to-eye on how much post production is acceptable in a photograph, but we have the greatest respect for each other and our photography. We have discussed the issues of APPA at length and with APPA just past, I feel it’s time to share some of my thoughts with a broader audience.

Retouch and Print your own?

The issue of whether photographers should retouch and/or print their own work is a prickly one, but my preference is that it should be mandatory that all entrants retouch and print their own images. However, the reality is that it just isn’t practical to enforce a rule that entrants must print their own work, for all the reasons Peter outlined in his prior pieces. However, we can ensure photographers are behaving honestly and ethically with their entries and that we are rewarding the real talent behind an entry – and it’s on this issue which I wish to press.

In some ways it disappoints me that I need to raise the issue of ethics and honesty in relation to the APPA awards. In many ways, the question of ethics brings us back to why it is we enter APPA as professional photographers and what it is we hope to achieve with our entries.

If we are entering because we want to be recognised and rewarded by our professional peers, then it is paramount that the entrant’s work be entirely his or her own creation (or at the very least that any outsourced elements are fully disclosed so that our peers can acknowledge these contributions).

Or, If we are entering because we want to compete solely with ourselves (the best reason in my opinion), then it is equally important that we are honest with ourselves.

There is frankly little kudos in receiving a gold award for an image if you have outsourced the retouching and printing and provided little- to-no direction to the craftsmen who carried out these tasks. There is even less kudos if you fail to acknowledge the skills and contribution of the retoucher. The entrant might receive a pat on the back from friends and congratulations from their peers, but deep down, when the shine wears off , they will know it was not entirely their own work. And how much kudos is there in that?

I can tell you from personal experience, there is absolutely nothing sweeter than receiving gold and silver awards when you shot, retouched and printed the work yourself.

If we accept that it is not practical to enforce a rule whereby photographers must print their own work, then we are left with the significant issue of retouching.

I am of the belief that all entrants should retouch their own work and sign off on their entries as such. Retouching is simply a core skill in digital photography nowadays and a great many other photographers agree on this point. However, if we were to continue allowing external retouching, then shouldn’t we be awarding (or at least acknowledging) the skill of the retoucher as much as the photographer?

If we can agree we are awarding the print in front of us as judges, then surely we have to acknowledge that the retouching is a major component of the final print score?

There are countless examples I could cite where it was external third party retouching that elevated a capture to an award standard. Yet it was the photographer who was awarded, with little or no mention of the often very significant contribution of the retoucher.

Frankly, the current rules are just far to vague and open to abuse. Asking a retoucher to retouch a capture with a vignette and colour adjustments, drop in a new sky etc. can just as easily be followed up with, ‘And make it a gold award please’.

I propose that we consider an amendment to the APPA rules that requires all photographers to complete their own retouching and sign of on it as their own work. Practically, a short term solution might be to award half points to entries with third party retouching, thereby acknowledging the entry was not entirely the work of the photographer.

By way of example, if the image scores a 92 Gold Award with disclosed third party retouching, the entrant receives 1 point instead of 2. And if we took this approach, I wonder how many entrants would suddenly start retouching their own work?APPAAPPA2

Moab and Legion Paper feature Antarctica Images at Photokina 2016

If you are attending Photokina in Germany later this month be sure to stop past the Moab and Legion Paper stand where several of my personal favourite photographs from Antarctica are being featured. The photographs are printed 24″ x 36″ inches on the new Moab Juniper Baryta paper (one of my favourite two papers). If you would like to travel and photograph in Antarctica with me there are now only a couple of places remaining on my expedition next year before it will be sold out. Full Details HERE.Ice Fortress HMAS Penguin Pool

Iceberg in Antarctica
Iceberg in Antarctica

2016 – APPA Australian Professional Photography Awards

This past weekend past saw the annual running of the annual 2016 Australian Professional Photography Awards (affectionately known to all those who enter as APPA). For those of you who may be unfamiliar with APPA you can read a previous blog post with my thoughts on the awards HERE.

This year was different for me as I was neither attending or judging the awards as I am currently in Iceland finishing up the second of two back-to-back workshops in the Highlands (I am headed back to Australia as soon as I finish this post – currently at the Iceland Air Saga Lounge). Although the APPA awards are live streamed across the internet the award timing happened to coincide with a period of time when I was in a very remote part of the Highlands without internet access and as such I subsequently learned of my scores after the event.

This was the sixth year I have entered the APPA awards. This year I again chose to enter the Science, Wildlife and Wild Places category (formally known as the Science, Environment and Nature Category), not only because I won this overall category in 2014, but also because this category has very rigid rules on image manipulation that are consistent with my own ethics for minimalist post production techniques. I have actually developed a severe allergy to the Landscape category at APPA for its ‘anything goes’ post production mantra that turns the entire category into a photoshop farce. More to come on this in a future post…

This year I chose to enter three images from the Arctic that I felt conveyed strong emotional feelings of wildlife in the landscape in dramatic conditions and one from South Georgia Island. I was thrilled to receive a Gold Award, a Silver with Distinction award and a Silver award for my first three entries. The fourth scored a 79 falling just short of Silver. This overall total placed me in the finals for the overall category win. It also provided sufficient points for my first Gold Bar toward my Grand Masters.

This year I also chose to enter my new book ‘Melrakki‘ into the Professional Book Award and was very pleased to receive a highly coveted Silver with Distinction award. Thank you very much to all those who contacted me after the judging with such overwhelmingly positive feedback on the book. Those of you who have pre-ordered the book (thank you) should start receiving them later this month.Hornvik-9491-EditSouthGeorgia2015-8201-EditVictoria-HolkoJ-1ArcticFoxIceland-9512-EditMelrakki