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"Abandoned Spaces" Photo CompetitionTheme: “THE ARTIST INTERVENES”

Praxis Gallery accepts submissions of photographic art or lens-based artwork that utilizes physical interventions and investigations of photographic surfaces that can include sewing, cutting, drawing, painting, tearing, bending, and weaving, all ways of interrogating the material qualities of a physical photograph to create new realities. All genres, capture types, black & white and color, traditional and non-traditional photographic and digital post-production processes are welcome for submission.


  • Thirty images will be selected by the juror for exhibition at Praxis Gallery (Exhibition Dates: Feb 18, 2023 – March 4, 2022).
  • A Juror’s Choice award, two Honorable Mentions and a Directors Choice award [for the most cohesive and compelling series of images submitted] will be awarded and featured in the exhibition, the printed show catalog and the online show gallery.

Juror:  Aline Smithson

Image requirements: JPG format; 72 dpi; 1024 pixels or less on longest side; 4MB or less in file size.  Selected photographers will receive instructions on uploading hi-res files to our online submission site.

Online submission of digital photographs via the website.


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Photographic and photoglyphic engraving are methods of photographically producing copper or steel printing plates that can then be used in a conventional press. The first was patented by William Henry Fox Talbot in 1852, and the second by him in 1858. At first, a copper or steel plate was coated with a gelatin solution made light-sensitive with potassium bichromate. The object to be depicted, such as a leaf or piece of fabric, was placed on top. Exposure to daylight hardened the areas not covered by the object. The unhardened areas were then washed off and the plate etched in acid. With etching complete, the gelatin was removed and the plate could then be printed. The addition of screens or other graining allowed Talbot to devise his second process, which had a much wider tonal range. A glass photographic positive was put over the sensitized plate and used to make the image. Nature made the faithful original photographic drawing, but, in the final prints, carbon-based ink relied on nothing light-sensitive and preserved the original image for posterity. This was the direct forerunner of the photogravure process.