The exhibition is open to anyone; however, an entry may be rejected when the sponsoring organization or its agent, in its reasonable discretion, believes the entry does not conform to the exhibition rules and conditions.
Entries are limited to not more than 4 images per section, category, or class. An entrant’s four images will be distributed throughout four rounds of judging in that section. Entries must originate as photographs (image-captures of objects via light sensitivity) made by the entrant on photographic emulsion or acquired digitally. By virtue of submitting an entry, the entrant certifies the work as his own (aliases are not permitted). The entrant permits the sponsors to reproduce all or part of the entered material free of charge for publication and/or display in media related to the exhibition. This may include low resolution posting on a website. Note: Entrants who indicate that their images may not be reproduced or used “will not be eligible for awards” or inclusion in audio-visuals of the exhibition “and could be subject to disqualification” by the exhibition sponsors.
The exhibition assumes no liability of any misuse of copyright. Images may be altered, either electronically or otherwise, by the maker. All parts of the image have to be photographed by the author who is holding the copyright of all works submitted. All final work must be on photographic film, or on electronic file, or on photographic or electronic print material, mounting excepted. Entries must originate as photographs made by the entrant. Images can be altered.
No more than four prints per section, per author.
All prints must be printed on A4 paper (29,7 x 21 cm/11 x 8,5 inches), NOT smaller size!
Any prints which exceed or falls below this size will be rejected. The riquirement has got NOTHING to do with the actual picture format – only the paper size.
Prints must be UNMOUNTED, and sent flat, NOT as a roll!
Prints will not be returned! Will be destroyed after exhibition.
Each work must state clearly on the back, name, address and country of the author, title of the work and number exactly as on the entry form. No information to be put on the face side.
Foreign entries please mark your packages “Photographs for exhibition, no commercial value“.
Entries will not be judged without an entry form, completed on our website, together with the full payment of entry fee.
Entry form found on http://www.lanternamagica.dk/
ENTRIES NOT FOLLOWING THIS INSTRUCTIONS, WILL BE DISQUALIFIED WITHOUT REFUND OF FEES.
Entry submission signifies acceptance of all rules and conditions of the exhibition.
By the sole act of submitting his/her images or files to a salon under FIAP Patronage, the entrant accepts without exception and with no objection that the submitted images can be investigated by FIAP to establish if these obey to FIAP regulations and definitions even if the entrant is not a member of FIAP; that FIAP will use any means at its disposal for this undertaking; that any refusal to cooperate with FIAP or any refusal to submit the original files as captured by the camera, or failure to provide sufficient evidence, will be sanctioned by FIAP and that in case of sanctions following the non compliance with FIAP regulations, the name of the entrant will be released in any form useful to inform the breaches of the rules. It is recommended to leave the EXIF data in the submitted files intact in order to ease eventual investigations.
If at any time, it is determined in the reasonable discretion of the exhibition organizer or the judges before, during, or after the judging of an exhibition that an entrant has submitted entries where one or more images may fail to comply with these Conditions of Entry, including the stated definitions, the exhibition organizers reserve the right to delete the entry from the exhibition and void any or all acceptances or awards in connection with the exhibition. Fees may be forfeited or refunded in these circumstances. The entrant acknowledges that the decision of the exhibition organizers or the judges is final.
In order to ensure that images comply with the Conditions of Entry and definitions, the exhibition organizers may carry out reasonable measures to verify that:
a) the images are the original work of the entrant and
b) the images comply with the rules and definitions as set out in these Conditions of Entry.
These steps include, but are not limited to, questioning any entrant, requiring the submission of RAW files or other digital files representing the original capture of the submitted image(s), confronting the entrant with evidence that one or more submitted images fails to comply with the Conditions of Entry (also known as Entry Rules), and offering the entrant a reasonable opportunity to provide counter evidence to refute the exhibition organizer’s evidence by a set deadline. Such entries that are not cleared or are still questionable after the entrant has presented evidence may be considered in breach of these Conditions of Entry, and declined. Such entries may be referred to PSA for further investigation of possible ethics violations.
PSA retains the right to investigate in any way all complaints/suspicions of breaches of entry conditions, impose sanctions if deemed necessary, void the acceptances of any image found to violate the PSA rules, include the entrant’s name on the list of sanctions provided to Exhibitions, and share such investigations with FIAP. Entrants automatically agree to these terms by the act of entering the Exhibition and agree to cooperate with any investigation.
Each image must have a unique title. Once an image has been accepted in a PSA Recognized exhibition, that same image, or a like “in camera” or a “reproduction” duplicate of that image:
May not be re-entered in any section of the same Division Star Ratings class in that exhibition regardless of media, format, or title.
May not be re-titled for entry in any other PSA Recognized exhibition.
Words such as “Untitled” and “No Title” are not acceptable as part or all of an image’s title, nor are camera capture filenames.
No title or identification of the maker shall be visible anywhere on the face of an Image.
Each entrant owns the copyright of the submitted images. The entrant certifies the work as his/her own. The entrant permits the organizers to reproduce the entered material free of charge for promotional purposes related to the exhibition, like the catalogue, photo CD/DVD and the website, unless specifically stated otherwise by the entrant on the entry form.
By entering this exhibition, you are explicitly consenting to the personal details you have supplied, including email addresses, being held, processed and used by the exhibition organizers for purposes associated with this exhibition. You also explicitly consent to such information being sent to organizations which have accorded official recognition, patronage or accreditation to this exhibition. You acknowledge and accept that entering this exhibition means that the status and results of your entry may be made public.
Your email address and contact information will not be made public.
Entries for which no or insufficient payment has been received will not be judged.
Payment via PayPal only. PayPal address: firstname.lastname@example.org
1 section $25 / €23
2 sections $29 / €26
3 sections $33 / €29
Groups of 5, or more photographers may enter as a group at a flat rate of $25 / €23 per entrant, regardless of the number of sections each photographer chooses to participate in. Groups will also compete for the best group entry trophy. The best group will be determined by the highest aggregate score for the best 5 entrants of the group. In case of a tie the awards of the group will be used as a tie breaker.
Leif Alveen, EFIAP/g, MPSA, ASDF
Address for sending prints:
Information and contact:
Leif Alveen, +45 61 285 285, email@example.com
In the 17th century there was an immense interest in optics. The telescope and microscope were invented (in 1608 and the 1620s respectively) and apart from being useful to some scientists, such instruments were especially popular as entertaining curiosities with people who could afford them. The magic lantern would prove to be a perfect successor. Prominent Dutch scientist, Christiaan Huygens is nowadays widely accepted as the true inventor of the magic lantern. The magic lantern was not only a direct ancestor of the motion picture projector as a means for visual storytelling, but it could itself be used to project moving images. Some suggestion of movement could be achieved by alternating between pictures of different phases of a motion, but most magic lantern “animations” used two glass slides projected together – one with the stationary part of the picture and the other with the part that could be set in motion by hand or by a simple mechanism.
Movement of projected images was also possible by moving the magic lantern itself. This became a staple technique in phantasmagoria shows in the late 18th century, often with the lantern sliding on rails or riding on small wheels and hidden from the view of the audience behind the projection screen. Phantasmagoria was a form of horror theater that used one or more magic lanterns to project frightening images, especially of ghosts. Showmen used rear projection, mobile or portable projectors and all kinds of effects to produce convincing necromantic experiences. It was very popular in Europe from the late 18th century to well into the 19th century. (Source: wikipedia)
The Lanterna Magica section welcomes any and all images honoring this tradition. We want to see anything from killer clowns to gothic horror themed images, from mythic creatures to ghost stories. Anything that ties in with the exhibition planned for a Halloween opening.
On a final note the actual name of the technique was Laterna magica, not Lanterna magica, the salon name evolved from a spelling error, but the decision was made to let it stand as is.
PSA definition of Monochrome Photography
An image is considered to be Monochrome only if it gives the impression of having no color (i.e. contains only shades of gray which can include pure black and pure white) OR it gives the impression of being a grayscale image that has been toned in one color across the entire image. (For example by Sepia, red, gold, etc.)
A grayscale 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.
FIAP Definition of the black and white photography (monochrome).
A black and white work fitting from the very dark grey (black) to the very clear grey (white) is a monochrome work with the various shades of grey.
A black and white work toned entirely in a single colour will remain a monochrome work able to stand in the black and white category; such a work can be reproduced in black and white in the catalogue of a salon under FIAP Patronage.
On the other hand a black and white work modified by a partial toning or by the addition of one colour becomes a colour work (polychrome) to stand in the colour category; such a work requires colour reproduction in the catalogue of a salon under FIAP Patronage.