Wednesday, October 15, 2014 / Labels: , ,

FREEDOM TO LOVE Photography award 2014

Love conquers all. Photo by Benedetta Polignone

October 15, 2014 /Photography News/ With the support of The Royal Photographic Society, and under the patronage of Amnesty International, the European Commission and the British Council, Accademia Apulia UK now welcomes submissions for their 2014 Photography Award. This award is open worldwide and is designed to promote photographers of all nationalities whose work explores the FREEDOM TO LOVE.

FREEDOM TO LOVE aims to raise awareness on the difficulties many people endure every day worldwide, as they try to express the most powerful and constructive human quality - love.

The judges are looking for photographs that testify that love is universal. Participants are invited to submit images of love, communion and friendship that cross established social boundaries, be they racial, religious, gender, age, or any other identifiable boundary.

Entries are free.

Deadline: December 7, 2014

Finalists Announcement: December 22, 2014

Winner Announcement: January 12, 2015

Accademia Apulia offers the winner and the three runner ups a group exhibition to be held at the London College of Communication between 12-17 January 2015. The winner will receive a gold medal from the Director-General of the Royal Photographic Society.

Download the terms & conditions HERE

To view all current call for entries listed at Photography News, visit

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Tuesday, October 7, 2014 / Labels: , , ,

PictureCompete presents 2014 "The Eyes" Photo Contest

Photo: Russ Rowland
October 7, 2014 /Photography News/ The eyes are said to be the windows of the soul. They tell so much about ourselves. Feelings of joy, sadness or fear radiate from the eyes. Truth or betrayal can be discovered from one glance. The eyes are a defining part of us. PictureCompete is seeking those images that best display the human eyes.

Cash prizes:

• First Place: $250 (USD)
• Second Place: $100 (USD)
• Third Place: $75 (USD)

All winners will receive:

• Winner's gallery exhibition
• Social media exposure
• PictureCompete™ newsletter exposure

Copyright: All submitted images remain sole property of artist/photographer.

Eligibility: Contest is open to all individuals 18 years and older, worldwide.

Entry Fee(s): $15 (USD) - up to 4 images

Entry Deadline: November 10, 2014

To view all current call for entries listed at Photography News, visit

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Saturday, October 4, 2014 / Labels: , ,

World Animal Day: A celebration in 17 photos

October 4, 2014 /Photography News/ World Animal Day is celebrated each year on October 4, since 1931 when a group of ecologists hoping to get attention for the plight of endangered species introduced it at a convention in Florence, Italy. October 4 was originally chosen for World Animal Day because it is the feast day of Francis of Assisi, the patron saint of animals and the environment. The day is now set aside as a time to reflect on all of the animals we share this world with, and our involvement with them - and to spur action to commemorate that respectful relationship. Below is a collection of old photos of animals around the world (17 photos).

Yawning koala bear. Fox Photos. The Daily Herald Archive, National Media Museum
Kangaroo & girls, ca. 1925 - ca. 1945, by Sam Hood.

Suckling, Shackleton - Rowett Expedition, Antarctica, 1921 - 1922. From the collection of the State Library of New South Wales.
Dog riding a trycicle, photographer unknown. National Media Museum
Boy with pigeons at [Circular] Quay, Sydney, 22 June 1935, by Sam Hood. From the collection of the State Library of New South Wales.

Cat in the window, 1930s, by Sam Hood. From the collection of the State Library of New South Wales
Wreck of the "Gratitude", Macquarie Island, 1911. Notes: First Australasian Antarctic Expedition, 1911-1914. From the collections of the Mitchell Library, State Library of New South Wales
"Christening of bears" at Koala Park, September 1938, by Sam Hood. Notes: Koala Park is a small zoo in the Sydney suburb of West Pennant Hills.From the collection of the State Library of New South Wales
Two exhibitors eye eachother's charges, Sheep Show, ca. 1945, Jeff Carter, Walkabout photograph. Notes: This photograph is from a collection of images taken for Walkabout magazine, between 1934 and 1974. From the collection of the State Library of New South Wales
Police dog, Tess, 29 January 1935, by Sam Hood

Margaret Shaffhauser with bull terrier at the Canine Association Show, 3 Nov 1934
Cat sitting on a radio, 1930s, Sydney, by Sam Hood
Study of a girl with ringlets teaching her dog to sit up, 1930s, by Sam Hood
Yap Yap (dog) in cart pulled by Achong - Trundle, NSW, n.d., unknown photographer
A group of Dalmatians and their owners before the judges, 1920s or 30s, by Sam Hood
Girl photographing a dog, photographer unknown. Collection of the National Media Museum

Ninely and Nine, by Joseph Gale (1830-1906). Collection of the National Media Museum

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Wednesday, September 24, 2014 / Labels: , ,

WPN "Photographer Spotlight": Michael Hill

Enemy. Michael Hill self-portrait

September 24, 2014 /Photography News/ World Photography Network (WPN) is very pleased to sponsor the popular segment: "Photographer Spotlight.” In this part of their newsletter they interview various fellow photographers and learn more about what motivates them, what their goals are and what direction they wish to take with their art. This edition's spotlight focuses on the talents of photographer Michael Hill.

WPN: Please give us a little background info about yourself.

M.H: I’m a “son” of New Orleans, a photographer, a wannabe writer, a peaceful warrior and a borderline pet hoarder. Actually, I’m not really the last one. That just seems like too much effort, but I would love to have my own zoo. I’ve been living in Florida for the past 5 years with my fiancé and our four legged family. I first began studying photography around the age of 15 and have loved it ever since. I’ve taken it from a hobby to a hopeful career.

Tasha, by Michael Hill

 WPN: Why photography as your mode of expression?

M.H: Back in my freshmen year of high school I signed up for a photography class because I thought it would be an “easy” grade. (This was back in the film days.) After a couple of weeks, I became more interested in photography. The grade wasn’t as important as the experience. That was a turning point for me. After that I pretty much carried a camera with me everywhere I went. I talked about new lenses, took pictures of everything and annoyed my friends. I’ve always liked art, but I can’t draw or paint, but I still want to be able to show people the ideas and images in my head. Being behind a lens made that possible.

The Chair, by Michael Hill
WPN: What do you see and feel when looking through your lens?

M.H: Everything. I don’t really know. I take it all in. I guess I’ve never really given it much thought. I see something I like, and I snap a few pics of it and then move on. Usually, I do not get overly involved in why I liked it in the first place. I guess I like to keep it simple.

Till Death, by Michael Hill
WPN: What are the messages or thoughts you wish to impart with your viewers?

M.H: I try not to ponder too deeply. I leave it up to my viewer to interpret for themselves after the photo is edited. Honestly, they usually come up with better narratives than I would have intended. Somehow it just works. I only do what comes naturally and never try and force anything. If I see an interesting subject that I just can’t seem to capture right, I leave it alone for someone else to do better. I like to “go with the flow.”

Best Friends, by Michael Hill. Winner of TeraBella Media 2014 Human Hands Photography Competition.
WPN: Explain more about your use of color overlay on your black and white images.

M.H: For me, creating a photograph is like trying to show someone my memory of a place and just how I remember it. Later, when I recall the scene, there’s always something that stood out. It could be a red chair, pastel colored carnival rides with glowing bulbs, or just how blue the ocean was that day. So, I’ll use a combination of selective coloring and blurs to draw the viewer’s attention to whatever my focus was. I remember the whole scene in detail, but for some reason my thoughts drift back to a particular subject which will always stand out in my mind. I will always think of that most in the scene and associate with it. By using the overlay process the images become like windows into my memories.

WPN: Any current projects or future projects in the works?

M.H: I will be part of an upcoming show in Kansas City opening on September 5th at the Main Street Gallery. Lately, I’ve been working on a unique way to mount and show a series I’ve done. This involves working with my hands more, and I’m pretty excited about that. More info coming soon!


Wish to be considered for the next Spotlight interview?
Please contact WPN's staff at

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Thursday, September 18, 2014 / Labels: , , ,

Understanding the Impact of Megapixels, Pixel Dimension

Understanding the Impact of Megapixels, Pixel Dimensions, and Resolution on Print Size


Photographers sometimes struggle with how to determine the ideal print size or preferred print dimensions depending upon the resolution and pixel dimensions of the camera or device (smart phone or tablet) used to shoot their photo.

Fortunately, there is a way to answer these questions yourself. You simply need to understand the connection between the image in its digital form and in its printed form.

To start, it is helpful to understand the image, itself. Using image manipulation software, such as Photoshop, it is easy to determine the image size of a file. For the purposes of this explanation, the example of an iPhone 5s image will be used. That device shoots at 8 megapixels and produces a 1.5 MB JPG physical file size.

When looking at the pixel dimensions of an image, you will learn a great deal about what you can do with your file. For example, for our example, the image will be 3264 pixels wide, and it will be 2448 pixels high. Software will be able to use that size in order to determine the size you would like to print. For example, if your goal is to print a 25 inch by 18.75 inch picture, then it would have a 130 pixels per inch resolution, which is sufficient to get a good result in print.

By taking images at the largest possible sizes for your device (camera, smartphone, etc.), you will also obtain its best possible quality of images.

Without software, it is still possible to determine these sizes as long as you have the image file properties and use the right math. Working with the same example of a picture that has a width of 3264 pixels and a height of 2448 pixels, you can use the following for your calculation:

Width (measured in pixels) ÷ Desired Width (measured in inches for the photo size you want) = the Picture Resolution (of the image measured in PPI at that size). So for our example:

3264 pixels ÷ 25 inches = 130.56 resolution. Therefore, this file will create a printed image of 25 inches wide that has a resolution of about 130 PPI.

With that resolution, you can then determine what the height of the image will be in inches. Use the following:

Height (measured in pixels) ÷ Resolution (as determined in the last step) = Desired Height (measured in inches). So for our example:

2448 pixels ÷ 130.56 resolution = 18.75 inches

Now that you understand the math, it’s time to take a closer look at resolution and what it is in terms of what you will require for your printed image. There is no fixed proper resolution for every purpose. The resolution that you require greatly depends on how you want your image to look and how it will be printed. For example, the typical website image needs around 72 PPI. The reason is that most online images are displayed at a relatively small size in order to ensure that the page can load quickly as the file size will be kept low.

On the other hand, printed images will require a greater amount of resolution as they will typically be printed at a bigger size than they would be if viewed on a device screen. Understanding the difference between media in the digital and physical world requires you to know two terms. The first is pixels per inch (PPI) and the second is dot per inch (DPI).

Although these terms are often used interchangeably, they are not actually identical. PPI is the term that is refers to a measurement of monitors, scanners, digital cameras, and other media that use a file in its digital form. On the other hand, DPI is a measurement of the physical form of the image. Therefore, devices such as printers would use image measurements in DPI.

When it comes to resolution, choosing the ideal for printing would require a considerable amount of math – more than is convenient or comfortable for the majority of people, so at American Frame, we simply recommend that you use a minimum 130 PPI as your print size. That said, we will lower image resolution requirements upon request. On the other hand, there is no maximum resolution for printing, though we do have a maximum allowable 100 MB file size. This helps to make certain that we will be capable of serving the widest spectrum of customer needs.

Therefore, if you want to print a 360 PPI image at its print size, we can do so as long as you have a file size of under 100 MB. For added assistance, use the chart available at the following link as your guide. We recommend that you stick to the range of “better” to “superb” for the best results:

If your image is not large enough, then there are some things that you can do to resolve this issue. American Frame can simply print the picture at a lower resolution than is recommended. This will create the image, but it will likely result in more visible pixilation or artifacts.

Pixilation occurs when an image size is increased to the point that the individual pixels that make it up are actually visible. That same image will look smooth when it is reduced in size to the point that the eye can no longer spot the individual pixels that lead to jagged edges instead of smooth ones.

To avoid this problem, we offer the ability to order a “resolution proof” of the print you are ordering with us. Here we take a section of your image shown at resolution of your full size print, which will allow you to determine whether or not pixilation will be visible in your image at its full size. If it looks too jagged for your purposes, you can opt to either choose a smaller print size or, if you have access to image editing and manipulation software, you can boost the resolution of your image to minimize this issue. This process is known as ressing or up-ressing. It provides additional resolution to a digital image that wasn’t actually in its original.

This process should be used with caution and is typically considered to be a last resort as it involves forming pixels where none had previously existed. Using this effect can reduce the crispness of the original image, causing an overall blur that is greater than what it would have been had the image been taken and printed at the quality at which it was taken and printed at its recommended size. Consequently, “upsampling” is best for images that will be viewed from a distance, where the loss of detail will not be noticed by the viewer.

For this reason, it is always easier for you to create a smaller picture size than to try to increase the size of the picture and “create” pixels” during the editing process.

So, the takeaway from this article is this: The more pictures you can capture in your original image, the larger you will be able to print. We always recommend that you use the highest possible settings allowed by your device.

When all is said and done, there is no set resolution or size for a digital image. It is all based on the original pixel dimensions at which it was taken. This will give you far more size options for printing, as it is always easier to start with a larger picture and work your way down, instead of attempting to work in the other direction.

This article was written by the American Frame Print Department Team for the Ask Mike blog. Mike is the man behind the mission of getting your picture frames produced and out the door quickly, correctly, with custom frame shop quality. Once your order is placed, it is in the hands of Mike and the many people he has trained over his 35+ years at American Frame. Read more framing tips from the team and Mike on his blog – Ask Mike.

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Saturday, September 13, 2014 / Labels: , ,

Remembering Kevin Carter and the photo that made the world weep

Kevin Carter's Pulitzer Prize-winning photograph
September 13, 2014 /Photography News/ Born 54 years ago, on 13 September 1960 (d. 27 July 1994), Kevin Carter was an award-winning South African photojournalist and member of the Bang-Bang Club. He was the recipient of a Pulitzer Prize for his photograph depicting the 1993 famine in Sudan. Following the winning of the Pulitzer Prize he committed suicide at the age of 33. 

In March 1993, while on a trip to Sudan, Carter was preparing to photograph a starving toddler trying to reach a feeding center when a hooded vulture landed nearby. Carter reported taking the picture, because it was his "job title", and leaving.

Sold to the New York Times, the photograph first appeared on 26 March 1993 and was carried in many other newspapers around the world. Hundreds of people contacted the Times to ask the fate of the girl. The paper reported that it was unknown whether she had managed to reach the feeding center. On May 23, 14 months after capturing that memorable scene, Carter walked up to the platform in the classical rotunda of Columbia University's Low Memorial Library and received the Pulitzer Prize for feature photography. 

With the success of the image came a lot of controversy, and questions were raised about the ethics of taking such a photograph. An article printed in 1994 in the St Petersberg Times commented on the morality of Carters actions, ‘the man adjusting his lens to take just the right frame of her suffering might just as well be a predator, another vulture on the scene,’ (Stamets cited in Ricchiardi, 1999). 

The National Press Photographers Association (NPPA) have a ‘Code of Ethics’ which sets out certain ethical responsibilities when carrying out journalistic work, one reads as thus, ‘while photographing subjects do not intentionally contribute to, alter, or seek to alter or influence events’ (NPPA, 2010). Considering this, one can say Carter was objective and documented what he saw, capturing the severity of the situation in Sudan. But does this alleviate him from the responsibilities of being a good human being?

On 27 July 1994 Carter drove his way to the Braamfonte near the Field and Study Centre, an area where he used to play as a child, and took his own life by taping one end of a hose to his pickup truck’s exhaust pipe and running the other end to the driver's side window. He died of carbon monoxide poisoning, aged 33. Portions of Carter's suicide note read: 

"I am depressed ... without phone ... money for rent ... money for child support ... money for debts ... money!!! ... I am haunted by the vivid memories of killings and corpses and anger and pain ... of starving or wounded children, of trigger-happy madmen, often police, of killer executioners ... I have gone to join Ken if I am that lucky."

Carter's story is depicted in the 2010 feature film, The Bang-Bang-Club in which he was played by Taylor Kitsch.

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Monday, September 8, 2014 / Labels: , ,

Ozone Zone International Photo Salon - Competition 2014

September 8, 2014 /Photography News/ Promoting The Beauty of Our World and Positive Changes. Annual photo salon supporting Artists' Bill of Rights, and under FIAP patronage. 

2014 Themes: 
  • HAPPINESS (special theme)

This photography competition's goal is to promote fine, artistic photography with a positive message to the world. A good deed or act of kindness captured on a photo, a social change for better, a beautiful element of nature, a deeply moving portrait or a special moment in life, a pristine wildlife scene, or a conceptual art image created in studio, they all qualify as having a positive message. 

The interpretation of contest themes belongs to you. Just keep in mind Ozone Zone Photo Salon jury looks for images bringing hope, showing compassion, love, and touching your mind with their artistry and beauty. The beauty can be shown in all of its forms, from a bare beauty of our planet, to an abstract or portrait, to surreal work of art.

You can win BIG! Up to massive  $15,000 Grand Prix, up to $30,000 in total cash prizes, Special Awards, FIAP Medals and Awards, and the Ozone Zone Medals. On top of receiving an award, you will gain public exposure and prestige. Winning images will be presented on the organizer's website as a photo gallery, on their blog, and as an art shows presentation in Victoria, Canada. Press releases about winners will be published in various media and available on line. 

Entry fee:
Up to 4 images in any single category: fee $13 (US Dollars) per category.
A further 4 images in any additional category: $13 per category.

Open to all photographers, amateurs and professionals, young and old, from around the globe.

Deadline: October 30, 2014

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Friday, August 29, 2014 / Labels: , ,

PBS documentary looks at the life of iconic photographer Dorothea Lange

“I challenged myself I would go down there just to see if I could grab a hunk of lightning.” - Dorothea Lange

August 29, 2014 /Photography News/ Iconic photographer Dorothea Lange is the subject of a new documentary  - Dorthea Lange: Grab a Hunk of Lightning - that will premiere August 29 at 9-11 p.m. on Rocky Mountain PBS.

The personal documentary directed by Lange's granddaughter Dyanna Taylor uses family journals, photos and film footage, interviews and vérité sequences of Lange at her Bay Area home studio, circa 1962-1965, to convey a full picture of the photographer and her approach to art as a philosophy of life.

Lange's 1936, Migrant Mother
The film also examines how some of her best-known photographs came about, among them “Migrant Mother,” an image so widely reproduced and imitated that Lange says of it in a film clip: “It doesn’t belong to me anymore. It belongs to the world.”

Taylor hopes the documentary will increase appreciation of her grandmother, who she believes has been unfairly pigeonholed as a Depression-era photographer.  It is not generally known, she said, that Lange was a committed environmentalist in the 1950’s and 1960’s–before it was fashionable–working on a series of photographs on the Berryessa Valley in Napa County, Calif., which was flooded when a dam was built there in the mid-1950’s.  Lange’s photographs documented a year and a half in the lives of people living there—some for generations—before the dam was built.

Noting that this series has had an impact on her “to this day,” Taylor said Lange “showed America to Americans and that’s still relevant today.”

Dyanna Taylor is a five-time Emmy award winning Cinematographer and Director of Photography whose prominent career in documentaries and features has also earned her a Peabody Award and the honored Muse Lifetime Achievement Award for Outstanding Vision and Achievement in Cinematography from New York Women in Film and Television.

Watch the trailer:

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Saturday, August 23, 2014 / Labels: , , ,

TED Talk: Photographer documents everyday objects exhumed from the mass graves of the Bosnian War

August 23, 2014 /Photography News/ Ziyah Gafić photographs everyday objects—watches, shoes, glasses. But these images are deceptively simple; the items in them were exhumed from the mass graves of the Bosnian War. Gafić, a TED Fellow and Sarajevo native, has photographed every item from these graves in order to create a living archive of the identities of those lost.

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Tuesday, August 19, 2014 / Labels: , , ,

Getty Images photographer Scott Olson arrested in Ferguson

August 19, 2014 /Photography News/ Getty Images photographer Scott Olson was arrested Monday night during protests in Ferguson. 

In an Instagram video posted by journalist Amy K. Nelson, Olson said he was arrested because police "said the media is required to be in a certain area."

"Getty Images staff photographer Scott Olson was arrested this afternoon in Ferguson, Missouri, while on assignment documenting the events there," a statement from Pancho Bernasconi, vice president of news at Getty Images, reads. "We at Getty Images stand firmly behind our colleague Scott Olson and the right to report from Ferguson. Getty Images is working to support his release as soon as possible. We strongly object to his arrest and are committed to ensuring he is able to resume his important work of capturing some of the most iconic images of this news story."

Olson's arrest marks the second time that police have arrested journalists covering the Ferguson protests. Last week Ryan J Reilly of the Huffington Post and Wesley Lowery of the Washington Post were detained for several hours.

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Saturday, August 16, 2014 / Labels: ,

In photos: Remembering landscape photographer Charles Roscoe Savage

August 16, 2014 /Photography News/ Born 182 years ago today, on 16 August 1832, Charles Roscoe Savage was a British-born landscape and portrait photographer who produced images of the American West. He became one of the foremost 19th century landscape photographers of the western United States, as well as a renowned studio portrait photographer, with his studio in Salt Lake City, Utah. 

Shortly after his 1848 baptism and membership in the Church of Jesus Christ of Latter-day Saints, Savage emigrated to the United States where he initially found work as a photographer in New York City. On assignment from the LDS Church he traveled to Nebraska, where he established a  studio. In the spring of 1860, he traveled to Salt Lake City, Utah Territory with his family, where he established another photography studio with a partner, Marsena Cannon, an early Utah daguerreotypist and photographer. A year later, after Cannon moved to southern Utah, Savage established a partnership with artist George Ottinger. Many of Savage's photographs were reproduced in Harper's Weekly newspaper, which created a national reputation for the firm. This partnership continued until 1870, when Savage formed the Pioneer Art Gallery, and in 1875, needing more space, he replaced it with the Art Bazaar which -in 1883- burned to the ground with all of his negatives.

As a photographer under contract with the Union Pacific Railroad, Savage traveled to California in 1866 and then followed the rails back to Utah. He photographed the linking of the Union Pacific and Central Pacific on Promontory Summit, at Promontory, Utah in 1869. This series is considered his most famous work. Other well known Savage images include pictures of the Great Basin tribes, especially the Paiute and Shoshone. Savage photographed scenic areas of the west including Yellowstone National Park, Zion National Park, and created many images documenting the growth of Utah towns and cities. He also traveled extensively over western North America, taking pictures in areas of Canada and Mexico, and in areas from the Pacific Ocean to Nebraska in the mid-west.

After his death on 4 February 1909, another fire -in 1911- destroyed all of the negatives from the last 25 years of his career.

Residence of Pres[iden]t B. Young, front. [Temple]. Alternate Title: Utah. Charles Roscoe Savage

Shore of Salt Lake. Charles Roscoe Savage. Medium: albumen print. 

Cactus growth, Arizona. Charles Roscoe Savage. Created ca. 1875. Medium: albumen print. 

The old mill. Charles Roscoe Savage. Alternate Title: Utah. Medium: albumen print. 

Interior of Tabernacle. Alternate Title: Utah. Charles Roscoe Savage. Medium: albumen print. 

Foundation of Temple. Alternate Title: Utah. Charles Roscoe Savage. Medium: albumen print.

Cathedral Rocks. Alternate Title: Views of the Great West, from the Missouri River to the Pacific Ocean, Colorado series. Charles Roscoe Savage

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Tuesday, August 12, 2014 / Labels: , ,

TeraBella Media Presents: 'Wonders of Water Part IV' Photo Contest

Photo: Rohana Mubadda

August 12, 2014 /Photography News/ Water is our essential element on this planet. Without it we cannot exist. It is a part of our daily tasks and rituals. We are bathed in water, sometimes baptized and even born in water. Water can define and represent many wonders including peace, tranquility, power and strength. It can also be a destructive and damaging force. TeraBella Media invites you to submit your favored images that best represent the “wonders of water.”


  • First Place: $400 (USD) cash prize
  • Second Place: $200 (USD) cash prize
  • Third Place: $100 (USD) cash prize
  • Three (3) Honorable Mentions & three (3) Merit Winners will also be chosen.

All finalist receive recognition in on line gallery display and social media exposure via Facebook, Twitter and Pinterest. All finalists are announced in the TBMPN newsletter and on Photography News.

Copyright: All submitted images remain sole property of artist/photographer.

Entry Fee(s):

$20 (USD) for first 4 images
(Up to 8 image entries may be submitted for additional fees)
Color and/or Black and White images will be accepted.

Eligibility: Contest is open to all individuals 18 years and older, worldwide.

Entry Deadline: September 18, 2014 (11:59PM CST)

To view all current call for entries listed at Photography News, visit

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In Photos: The 1898 Spanish-American War from the Florida Shore

August 12, 2014 /Photography NewsIn 1898 U.S. attention focused on Florida as the Spanish-American War began on April 25. The port city of Tampa served as the primary staging area for U.S. troops bound for the war in Cuba. The arrival of over 30,000 troops, including Lieutenant Colonel Theodore Roosevelt and his Rough Riders cavalry unit, changed Tampa from a small town to a city.

Florida, the closest state to the Caribbean and home to a large Cuban immigrant population, became the setting for much of the action in Cuba's fight for independence from Spain. 

Although the main issue was Cuban independence, the ten-week war was fought in both the Caribbean and the Pacific.

August 12, 1898 marks the end of the Spanish-American War, with the Americans defeating the Spaniards.

The images included in this set have been selected from the Photographic Collection of the State Library and Archives of Florida.

The Florida Photographic Collection contains more than 157,000 images, representing the most complete portrait of Florida available.

Courtesy of the Florida Photographic Collection.

Street of Company E at the Rough Riders' camp : Tampa, Florida, 1898. 1 photonegative : b&w ; 4 x 5 in. Photonegative of the left half of a stereoview, sold by Underwood and Underwood.

2nd Virginia Volunteers playing with a rattlesnake : Pablo Beach, Florida, 1898. The rattlesnake appears to be a large diamondback, with 11 buttons on its tail. 1 photonegative : b&w ; 4 x 5 in.

Cuban volunteers in the barracks, 1898. Author: Gilson Willets. Note from caption: "Cuban volunteers in their barracks. Many of these were cigar makers at Tampa." The "Army of the Cuban Republic" was made up from 40 Cubans from Jacksonville, 200 from New York, and 150 from Key West. They set sail on the Florida to join the rebels on May 21st. 1 photonegative : b&w ; 4 x 5 in.

Troops en route to Cuba, summer 1898. 1 photonegative : b&w ; 4 x 5 in.

Roosevelt's Rough Riders leaving Tampa aboard the transport Concho headed for Santiago de Cuba, 1898. 1 photoprint; b&w 10 x 8 in.

Mascot of the "Rough Riders", 1898. 1 photonegative : b&w ; 3 x 5 in.

9th United States Cavalry training horses for Spanish-American war, 1898. 1 photoprint b&w 8 x 10 in.

Captain Curry of the Rough Riders: Tampa, Florida, 1898. 1 photoprint : b&w ; 3 x 5 in.

Soldiers of the 2nd Regiment of Louisiana Volunteers at train depot : Cocoa, Florida, June 1898. Author: Miss. S. Julie Porcher. 1 photoprint b&w 8 x 10 in.

Alligator shot by the captain of 4th Illinois Volunteers : Jacksonville, Florida, 1898. The captain belonged to Company G of the 4th Illinois Volunteers. 1 photonegative : b&w ; 4 x 5 in.

Trooper at work between drill calls : Tampa, Florida, 1898. Author: Gilson Willets. 1 photonegative : b&w ; 4 x 5 in.

Fever wards at the division hospital : Jacksonville, Florida, 1898. Author: Gilson Willets. 1 photonegative : b&w ; 4 x 5 in.

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