General WCPF Competition Rules
Any photographer entering a WCPF competition must be a member of a club affiliated to the WCPF
There are no time limits regarding the age of a photograph for any WCPF competition.
In all cases, the original image(s) must have been taken using a photographic process and be the sole copyright of the Entrant. Any modification of the original image must be made by the author or under his/her personal direction.
The use of clip-art, downloaded textures, or elements from any other photographer's images is not permitted
Individual entry forms must be completed and sent with entries submitted, and all further requirements met for each competition.
To view specific rules for each competition, refer to the individual competition page.
Mount size to be 400mm x 500mm (unless separately defined in the competition-specific rules) and no more than 5mm thick. No entrant information to be shown on the face of the mount. Photographer's name, club, and image title to be shown on a white label on the reverse of the print. Please avoid placing your labels in the bottom right-hand corner (viewed from the back) of mounts as this area is used for competition produced labels. No Velcro or clips to be left on the reverse side of the mount.
Digitally Projected Images
Images must be .jpg files with a maximum size of 1600px wide and 1200 px high, so portrait images should be no more than 1200px high.
All photographic processes and techniques are eligible (subject to competition-specific rules that may apply) providing that the photographer owns the copyright to all elements of the picture
The WCPF adheres to the definitions followed by the PAGB. The following definitions apply to all WCPF competitions where the category has been applied.
Any black and white image going from very dark grey (black) to very clear grey (white) and containing only various shades of grey. A black and white work toned entirely in a single colour will remain eligible for the monochrome class.
However, a black and white work modified by partial toning or by the addition of one or more colours, becomes a colour work and is thus ineligible for the monochrome class
Nature (INFO 2018)
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 story telling value of a photograph must be weighed more than the pictorial quality while maintaining high technical quality.
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.
Processing of the captured image, by cropping, exposure adjustment, colour correction, noise minimisation, dodging/burning, HDR, focus stacking and sharpening, is allowed.
Cloning of image defects and minor distractions, including overlapping elements, are permitted when these do not distort the truth of the photographic statement.
Images entered as Nature can have landscape, 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. Access to biological subjects may be restricted.
By entering a PAGB event, Photographers warrant that they have followed relevant codes of practices and hold any necessary licences.
Images entered in Wildlife sections are further defined as one or more extant zoological or botanical organisms free and unrestrained in a natural or adopted habitat. Landscapes, geologic formations, photographs of zoo or game farm animals, or of any extant zoological or botanical species taken under controlled conditions are not eligible in Wildlife sections. Wildlife is not limited to animals, birds and insects. Marine subjects and botanical subjects (including fungi and algae) taken in the wild are suitable wildlife subjects, as are carcasses of extant species. Wildlife images may be entered in Nature sections.
By entering an event with PAGB patronage, photographers warrant that they have followed relevant codes of practices and hold any necessary licences.
A Photo Travel image expresses the characteristics or culture of a land as they are found naturally. There are no geographic limitations. Images from events or activities arranged specifically for photography, or of subjects directed or hired for photography are NOT appropriate. Close up pictures of people or objects must include features that provide information about the environment. Techniques that add, relocate, replace or remove any element of the original image, except by cropping are not permitted. The only allowable adjustments are removal of dust or digital noise, restoration of the original scene, and complete conversion to greyscale monochrome. Other derivations including infrared are not permitted. All permitted adjustments must appear natural.
The Photo Travel definition was created by the PSA (Photographic Society of America) and adopted by FIAP, the RPS and the PAGB. The PSA also issued a clarification (see next page) of the definition to attempt to remove any ambiguity and provide context.
Important; Further clarification of the Photo Travel Definition can be found here
Why was the definition updated? This has to do with the fact that the Photo Travel Division is a reality-based division, like the Nature and Photojournalism Divisions. The object of Photo Travel is not just to produce good images, but to portray and communicate the world as we find it, rather than as we can arrange it to obtain the best photograph. Our world is an infinitely interesting and varied place. We want to explore, capture and present it as it is, in its many interesting manifestations, rather than photographing the same limited number of setup situations over and over (think camels wandering the dunes at sunset) or to post-process the image to the point where it deviates substantially from the original scene.
The update concerning image manipulation is relatively easy to understand and follow, both for photographers and judges. Compared to the previous definition, it was simply made more precise.
The update concerning setup situations is a guideline for photographers to follow, rather than for judges to discern. Many set up situations are not obvious to the person who has not been there. In the absence of evidence to the contrary, even a judge who suspects a setup needs to give the photographer the benefit of the doubt. However, if the same type of image shows up in exhibition after exhibition, this may be a contrived situation created for the purpose of giving a small number of people a better shot at winning a medal.
In the sentence “Images from…” the emphasis is on “arranged specifically…” and “subjects directed or hired…” In order to illustrate the specific meaning, let’s assume someone photographs a re-enactment of a civil war battle or a festival and submits this to a PT exhibition. No problem, because the people that were doing this were not hired or directed specifically for the photograph to be taken.
Is it okay to tip a subject? Yes, if the subject is doing what they would substantially be doing without being photographed, if it’s a small tip, and if the behaviour, dress or posture was not specifically managed for the primary purpose of obtaining a better photograph.
Photo Travellers are ambassadors to other people and cultures. We do not want to contribute significantly to the distortions that are taking place as a result of the business that is being made out of hiring or directing native people to act in unnatural ways for the purpose of tourist photography.
For individual enquiries please contact our Competition Secretaries
Knightshayes Trophy firstname.lastname@example.org
Kingswood Salver email@example.com