Nature photography is restricted to the use of the photographic process to depict all branches of natural history, except anthropology and archaeology, in such a fashion that a well-informed person will be able to identify the subject material and certify its honest presentation. The storytelling value of a photograph must be weighed more than the pictorial quality while maintaining high technical quality. Human elements shall not be present, except where those human elements are integral parts of the nature story such as nature subjects, like barn owls or storks, adapted to an environment modified by humans, or where those human elements are in situations depicting natural forces, like hurricanes or tidal waves. Scientific bands, scientific tags, or radio collars on wild animals are permissible. Photographs of human created hybrid plants, cultivated plants, feral animals, domestic animals, or mounted specimens are ineligible, as is any form of manipulation that alters the truth of the photographic statement.
No techniques that add, relocate, replace, or remove pictorial elements except by cropping are permitted. Techniques that enhance the presentation of the photograph without changing the nature story or the pictorial content, or without altering the content of the original scene, are permitted including HDR, focus stacking, and dodging/burning. Techniques that remove elements added by the camera, such as dust spots, digital noise, and film scratches, are allowed. Stitched images are not permitted. All allowed adjustments must appear natural. Color images can be converted to grey-scale monochrome. Infrared images, either direct-captures or derivations, are not allowed.
Images used in Nature Photography competitions may be divided in two classes: Nature and Wildlife. Images entered in Nature sections meeting the Nature Photography Definition above can have landscapes, geologic formations, weather phenomena, and extant organisms as the primary subject matter. This includes images taken with the subjects in controlled conditions, such as zoos, game farms, botanical gardens, aquariums and any enclosure where the subjects are totally dependent on man for food.
PSA ADDITION to the joint FIAP/PSA rules
There is one hard and fast rule, whose spirit must be observed at all times.
The welfare of the subject is more important than the photograph.
This means that practices such as baiting of subjects with a living creature and removal of birds from nests, for the purpose of obtaining a photograph, are highly unethical, and such photographs are not allowed in Nature competitions. Judges are warned not to reward them
An image is considered to be Monochrome only if it gives the impression of having no color (i.e. contains only shades of grey which can include pure black and pure white) OR it gives the impression of being a greyscale image that has been toned in one color across the entire image. (For example by Sepia, red, gold, etc.) A greyscale or multi-colored image modified or giving the impression of having been modified by partial toning, multi toning, or by the inclusion of spot coloring does not meet the definition of monochrome and shall be classified as a Color Work.
All entries shall conform to the stricter of these definitions for acceptances to be validated by all the International Organizations granting recognition or patronage.
Images in the Street theme can be in color or monochrome technique, originate from digital files or slides. Monochrome images may be entered in PID Color sections but if accepted will only be eligible towards PID Color Star Ratings.
In this theme, we expect photography that records unposed scenes in public places (streets, parks, restaurants, stores, museums, libraries, airports; train, bus, and subway stations, etc). The primary subject is people and/or symbols of people, at rest or in motion, alone or with others, going about their everyday activities. This includes street portraits, candid street photography, still life, socio – documentary street photography, urban landscape. Show architecture in harmony with the surrounding landscape and environment. See well-known places under a new perspective. We are not interested in “postcard esthetics”, we want modern and contemporary images of modern and contemporary architecture. Bring architecture and sights in contrast to people, landscapes, nature, and environment and produce connections between people and architecture/sights.