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Animals Art Competition
Through this call artists and photographers are invited to present their best artworks related to the world of animals. A variety of interpretations of Animals theme can be submitted (representative, abstract, conceptional).
All winning artists will receive a digital award certificate, First, second and third place will be largely displayed with an article about the artist and their work. Winning artwork (first place) will be on the poster of the show. Depending on the number and quality of all submissions received, Special Merit awards and Honorable Recognition awards may also be presented.
2 images may be submitted per entry fee. There is no limit to the number of entries per artist
Image requirements: up to 1.5 MB in file size; JPG format
Online submission of digital photographs via the website.
Judging criteria: creativity, interpretation of the theme, originality and quality of art, overall design, demonstration of artistic ability, and usage of medium.
PHOTOGRAPHY TIPS FOR YOU:
Picking the right camera for your outdoor adventures is harder than it might first appear. You need something that you can attach various lenses to, so it should be a DSLR or mirrorless system. But it also needs killer autofocus for moving targets, and a fast burst mode to match. And it should be sturdy enough to handle the elements. We all try to be kind to our cameras. But in the field, when a fantastic shot is calling, we also push the limits a little. One of the hallmarks of top-of-the-line equipment is how well it is weather-sealed. Top-end stuff usually has extra seals on all the buttons and rubber gaskets on the battery door, communication ports, and even around the lens to body joint. They can’t swim, but they can take a lot more trips out in drizzle or snow before you get problems. With extra seals, you’ll have more time to dry them and clean them before the moisture makes it inside to some delicate circuit board. While most pro-level camera bodies now sport full-frame sensors, there is a slight advantage to shooting with the smaller-sensor APS-C format camera. These cameras use 35 mm lenses and give you a little bit of extra zoom. If you have a great 400 mm lens that you love, it will be closer to 600 mm on an APS-C camera. Once you’ve got a nice camera body, the real tough choice will be what lens to attach. There are many sorts of animal photography, and it all depends on how close you can get to your subject. Most animals are skittish, and some are dangerous. It’s best to have the longest telephoto lens you can afford. If money is no object, then you want the longest telephoto lens with the widest aperture that you are happy carrying. A wide aperture is helpful since it will keep your shutter speed higher, and allow you to shoot in lower light. Here is an article on the Exposure Triangle, to help you learn how to leverage shutter speed, aperture, and ISO to your advantage. You can shoot equally well with a prime or a zoom lens. But if the zoom lens is too short, you may find it staying on its maximum setting. Being too close to use a long telephoto is seldom a problem with wildlife pictures, so the primary concern is nearly always getting the biggest focal length lens you can. But the best camera for wildlife photography isn’t just the one with the longest lens. Sometimes the great shot is a wide-angle that shows less of the animal and more of its behavior and environment. And sometimes a macro is the thing to capture the microscopic world of insects.
Picking the right camera for your outdoor adventures is harder than it might first appear. You need something that you can attach various lenses to, so it should be a DSLR or mirrorless system. But it also needs killer autofocus for moving targets, and a fast burst mode to match. And it should be sturdy enough to handle the elements. We all try to be kind to our cameras. But in the field, when a fantastic shot is calling, we also push the limits a little. One of the hallmarks of top-of-the-line equipment is how well it is weather-sealed. Top-end stuff usually has extra seals on all the buttons and rubber gaskets on the battery door, communication ports, and even around the lens to body joint. They can’t swim, but they can take a lot more trips out in drizzle or snow before you get problems. With extra seals, you’ll have more time to dry them and clean them before the moisture makes it inside to some delicate circuit board. While most pro-level camera bodies now sport full-frame sensors, there is a slight advantage to shooting with the smaller-sensor APS-C format camera. These cameras use 35 mm lenses and give you a little bit of extra zoom. If you have a great 400 mm lens that you love, it will be closer to 600 mm on an APS-C camera. Once you’ve got a nice camera body, the real tough choice will be what lens to attach. There are many sorts of animal photography, and it all depends on how close you can get to your subject. Most animals are skittish, and some are dangerous. It’s best to have the longest telephoto lens you can afford. If money is no object, then you want the longest telephoto lens with the widest aperture that you are happy carrying. A wide aperture is helpful since it will keep your shutter speed higher, and allow you to shoot in lower light. Here is an article on the Exposure Triangle, to help you learn how to leverage shutter speed, aperture, and ISO to your advantage. You can shoot equally well with a prime or a zoom lens. But if the zoom lens is too short, you may find it staying on its maximum setting. Being too close to use a long telephoto is seldom a problem with wildlife pictures, so the primary concern is nearly always getting the biggest focal length lens you can. But the best camera for wildlife photography isn’t just the one with the longest lens. Sometimes the great shot is a wide-angle that shows less of the animal and more of its behavior and environment. And sometimes a macro is the thing to capture the microscopic world of insects.