Steveston Photo Challenge

Phoenix Art Workshop would like to invite Photographers to join our 6th annual Grand Prix of Art, a plein air painting race where artists are allocated a location in Steveston and have 3 hours to complete a work.  Over 100 artists are expected to join us at Britannia Heritage Shipyards this year with artists asked to arrive at 10am Saturday September 19th.

We are inviting photographers to join us to capture the spirit of this unique art race in a photo journaling competition.   Like the painters, photographers will have a time limit to photograph the event and submit 5 unedited photographs.  Participating photographers are permitted to start shooting half an hour prior to the painters’ start time, and must submit their photos within half an hour after the painters finish.    Registration is $15 for photographers, which includes the lunch served immediately following the competition at Britannia Shipyards historic site.  Photographers can find our registration page  here.

2012 Grand Prix of Art

The Photographer’s Challenge:  Capture the Spirit of the 6th Annual Grand Prix of Art in a digital photo journaling competition

  • Photographers are required to submit 5 unedited images within the given time limit.
  • Images must be uploaded to the event drop box by midnight on the day of the event.  ( You will be invited to the Dropbox via email before the event)
  • Photographs must be direct from the camera, unedited, however any in camera filters or effects will be permitted.
  • Photographers will not be allocated a specific location but rather be permitted to roam the entire site to capture the spirit of the competition.
  • Photographers must not speak to or disturb the artists as they are working.

Images and copyright remain the property of the photographer, however the organizers of the event retain the right to use the images online and for marketing purposes including publishing the winning photographs in the local papers. All other uses must have the photographer’s permission for reuse.  Photographers can assume that all participating artists have given their consent to be photographed with the exception of participants with a yellow lanyard.  Please be mindful NOT to disturb the artists while they are working ( respect their time constraints and concentration).    We ask that you record the artist badge number for reference following the competition and we will be happy to facilitate copies of photographs between photographers and painters.

*** about “”editing to International Press Standards”” for photographs submitted. Using sliders to adjust exposure, brightness, white balance, contrast, highlight and shadow detail is an acceptable form of editing for International Press Standards.  We will also accept work converted to B&W.   With press work, the images generally look fairly ‘natural’/’untouched’ (for lack of a better word). For example, you wouldn’t give the photographs a ‘vintage’ look, because that’s more editorial (contains an opinion).  In short no post filters or effects are allowed.  Manipulation is not an issue of “too much Photoshop”, it’s about adding or removing content and is not permitted.


Telling a story photographically:

by Mary L G Jensen MPA, f/PPABC

These guidelines should be useful for both photojournalists and travel photographers, as both are seeking to tell a story in a series of images.

  • Vary ‘the story’ with wide angle, medium shots, and telephoto compositions. Remember that variety is the spice of life.
  • You don’t need to have everything in the image to tell the story—details ‘talk’ too.
  • Move around the subject
  • Look at the light from different angles
  • Consider different camera heights (how low can you go? Can you climb safely and without damaging yourself or others’ property?)
  • Vary your lens length
  • Like a videographer, consider making an ‘establishing’ shot. That is a shot that tries to capture the who/what/where/when/ and how of what’s going on.
  • It may help to think of your establishing shot as a ‘title page’ for the collection of images that will tell the story (so, if you published an ‘album’ or photobook of the photographs, which image would be the first one in the book?)
  • When choosing the order for your photographs (creating your slideshow, or layout for a photobook), plan to lead with your establishing shot and follow up with your second strongest image. If your establishing shot is mundane (they sometimes have to be!) then bury it near the front and lead with the second most impactful image.
  • Close the collection with your strongest image.



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