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lokuhapuarachchi · 3 months
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Homeless Realities:
A Photographic Journey through Britain's Housing Crisis
A pictorial approach to Britain's housing crisis, the series of photographs featured here was taken in Liverpool city centre in the early hours of Christmas morning. On Christmas morning, the city centre seemed lifeless. On closer observation, one could get the impression that there were people huddled in the cold in small tents and piles of cloth on the ground in front of the most popular shops in the closed city, from a slight movement outside the tent or a shoe or blanket peeking out from under the blankets, only with a red nose from the cold.
The city's huge decorative shops had decorated their glass windows with Christmas advertisements, and various advertisements were being broadcast on the city's digital screens. I used the above backdrops of the city, surrounded by small tents sheltering a lonely man sleeping without a home, to bring out the ironic irony of my photographs. Through it, I tried to look into a dark corner of British life.
When I moved to Liverpool, England in 2015 after living in Cardiff, Wales for five years, there were several reasons: better health care facilities, better education services, and better job opportunities. As a Sri Lankan, I enjoyed the history of Liverpool associated with the Mersey River Valley along with finding social connections. Also, moving to London, the capital city of Britain, did not attract my attention, as I was used to a 24/7 busy life associated with work as an international journalist, and I no longer wanted to live in a busy social environment even after leaving that career. At the same time, the most beautiful parts of Britain such as Scotland, the Lake District, Snowdonia, and the Peak District are easily accessible in a much shorter time than London.
Despite the above background, Liverpool has seen a rapid growth in the number of people moving to the city over the past eight years. Undoubtedly, the economic recession and the high demand for housing due to the influx of immigrants are two of the main factors that have influenced this change in the housing market. Also, beggars and homeless people's shacks, which we did not see when we first came to Liverpool, can be seen in Liverpool city centre today. These views, which are not limited to Liverpool, are the dark shadows of the housing crisis that is spreading across Britain.
It was revealed at a rally for the homeless earlier this year that at least 271,000 people are homeless in England, including 123,000 children. The NGO Shelter, which advocates for the homeless in England, shows that one in 208 people in England is homeless. Of these, 2,400 people sleep rough every night, 15,000 people live in hostels or supported accommodation, and almost 250,000 live in temporary accommodation - most of them families.
A 74% rise in the number of people living in temporary accommodation in the last 10 years underlines the extent of Britain's housing crisis. The homelessness charity argues this is due to a shortage of government social housing and an over-reliance on extremely expensive and unstable private rent.
More than two-thirds (68%) of families living in temporary shelters have been there for more than a year, and this type of shelter is becoming “temporary” because families cannot escape homelessness due to a lack of affordable housing. This has been made worse by the three-year housing benefit and cost of living crisis.
As well as calculating the total number of homeless people, Shelter has carried out the largest ever survey of homeless households living in temporary accommodation. Grassroots research revealed that living in temporary shelters has a major negative impact on people's health.
The following facts were revealed there:
Two-thirds (63%) of people say living in temporary accommodation has had a negative impact on their mental health.
Half (51%) say it has negatively affected their physical health.
Two in five people (39%) say living in temporary accommodation has made accessing healthcare appointments difficult.
A sharp rise in homelessness in 2023 prompted Shelter to issue an urgent appeal for public support. The charity's emergency helpline receives an average of 1,000 calls a day, of which eight (78%) callers are homeless or at risk of homelessness - a figure that has increased by 8% since last year.
Britain's capital city, London, has been facing a complex set of housing challenges for many years and has a very high demand for housing. This demand has led to a serious shortage of affordable rental housing for people. This shortage has contributed to skyrocketing property prices and rental costs, making it difficult for many people, especially young people and families, to afford suitable housing.
Despite various government initiatives to address the issue of homelessness, it persists. Factors such as lack of affordable housing, poverty, unemployment, and mental health issues contribute to this ongoing crisis.
In principle, efforts have been made to encourage property developers to build more homes, focus on affordable housing, and provide support for first-time buyers. However, the pace of construction does not always keep pace with demand.
The plague also took its toll, exacerbating existing problems. It highlighted issues such as overcrowded housing, insecure tenants, and the vulnerability of low-income people.
Solving the UK's housing crisis requires a multi-pronged approach from the British government that includes not just building more homes but also tackling the underlying economic problems, ensuring fair rental practices, providing better support for vulnerable populations, and encouraging sustainable urban planning.
[The data contained in this article was obtained from Shelter. This organization is an advocate for tenants' rights in Britain. Founded in 1966, Shelter provides advice and practical support to people in housing need, campaigns for better investment in housing, and shelters laws and policies to improve the lives of homeless and poorly housed people.]
Photographs and Writing by / Anuruddha Lokuhapuarachchi
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lokuhapuarachchi · 4 months
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Transitioning Gear: From Canon to Sony - A Journey of Adaptation and Savings
Preparing for an upcoming event in Leicester City, I decided to introduce a new addition to my camera gear. Before diving into the shoot, I wanted to familiarize myself with this latest equipment to ensure it seamlessly integrated into my setup.
My journey with photography spans across several iconic camera brands, starting from Minolta, Yashica, Practica, Olympus, and Pentax cameras from 1984 to 1991, transitioning to Nikon cameras from 1991 to 1998. However, the landscape shifted in 1998 when Canon stepped into the scene, bidding adieu to the familiar camera room. Canon swiftly became my preferred brand, solidifying that connection in 1999 with the Canon 400mm f2.8 L IS lens.
This lens became a staple, accompanying me to photograph international cricket matches for the Sri Lankan cricket team during my tenure at Reuters News Service. Its recommendation stemmed from multiple factors—excellent image quality, minimal optical distortion, a rapid aperture, image stabilization, and an agile autofocus system. While this lens thrived in sports reporting, my repertoire expanded to include everyday news, even extending to covering conflicts, utilizing three lenses: the Canon 16-35mm f2.8, 35-70mm f2.8, and 70-200mm f2.8. With a surplus of cameras matched to these lenses, I seamlessly interchanged cameras during shoots, minimizing lens changes.
However, as time progressed, my photographic needs underwent a metamorphosis. Weight reduction in equipment and a streamlined lens collection became paramount. Deliberating on this, Sony cameras emerged as a plausible option due to their lightweight build. Additionally, capturing bustling scenes without frequent lens changes became an appealing prospect.
Yet, I wasn’t prepared to compromise on lens quality or sacrifice the minimum aperture of f2.8. While lenses like Tamron 18-400mm f3.5-6.3, Canon EF 28-300mm f/3.5-5.6 L IS, and Sigma 28-300mm f/5.6-6.3 offered a range, the varying aperture and potential compromise in image quality didn’t align with my standards.
Contemplating a transition to Sony while retaining my Canon equipment, I stumbled upon the 35-150mm 2-2.8 lens—an intriguing find. Among the options like Samyang AF 35-150 f/2-2.8 FE and Tamron 35-150 mm f/2-2.8 Di III VXD, I found subtle performance differences despite a significant price gap and that feverable to Samyang. Opting for the Samyang, priced attractively on Amazon at £854.00 while Tamoron price £1486.00, seemed like the right choice after thorough research.
Thus, with the Samyang 35-150 f2-2.8, a Sony A7 Mark II, and a Godox Xpro at an Amazon special price, I made the purchase using allocated funds for new camera equipment.
Adapting from my Canon gear to Sony, I sought solutions for flash equipment. I found that using the Godox XPro to employ flash strobe lights for Sony, alongside the Godox SX 400 Studio Flash for Canon and Godox V1Hot Shoe, proved more cost-effective than purchasing new flash equipment. The entire conversion from Canon to Sony, inclusive of accessories, totaled £1585.00. This transition meant relinquishing the focal range of 35-16mm and 150-200mm, which I deemed acceptable given the substantial savings.
Considering the Amazon prices, the total expense for the Canon lenses (16-35mm f/2.8 = £1599.00, 24-70mm f/2.8 = £1947.00, and 70-200mm f/2.8 = £1624.00) would have amounted to £5170.00. Thus, by completing a full Canon to Sony conversion, I managed to meet my requirements while saving £3585.00.
With my setup primed, I am now geared up to capture the event in Leicester City next weekend, all with the convenience of a single lens.
by - Anuruddha Lokuhapuarachchi
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lokuhapuarachchi · 8 months
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The essence of readability and simplicity
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At the heart of the Liverpool Library, amidst the currents of modernity and technology, lies an enduring bastion of calm and simplicity. On July 20, 2023, I had the privilege of capturing a beautiful moment that distilled the essence of a seemingly forgotten era.
A solitary figure, unfazed by the constant stream of information flowing through high-tech media, found solace under the sturdy treads of an antique metal staircase. Clutching a traditional paper newspaper in his hand, his eyes immersed in its pages, he stood as a resolute guardian of the written word—a testament to the enduring power of tangible knowledge in a world consumed by virtuality. His body language spoke volumes, reflecting a deep connection with the wisdom and consciousness of past generations, seeking refuge from the frenzied flow of information.
In the tranquil library where artistry intertwines with architecture, a captivating symphony emerges. The old-fashioned handrails gracefully encircle the scene, akin to the skilled brushstrokes of a master artist. They epitomize the artistic allure of the library's interior, weaving a harmonious tapestry of human endeavor and historical depth. These weaves cross the frame, embracing the man, and seem to whisper of simpler times and profound values.
The play of natural light, deftly harnessed to complement my camera's technical settings, bathed the scene in soft, ethereal hues. Illuminating the man and his surroundings with a gentle glow, it bestowed upon him an aura of timeless wisdom and serene beauty. The dance of shadows and light further accentuated the stark contrast between tradition and modernity, prompting us to contemplate the intangible essence that transcends technological advancements.
Through this photographic symphony, I sought to preserve a moment that transcends time, inviting the viewer to pause and reflect. The white steps on the right side of the image symbolize the transformation of life, yet they remain disconnected from my protagonist, emphasizing his devotion to the written word and peaceful coexistence with the surrounding architecture. This celebration of simplicity and the purity of the past comes alive in an age dominated by the relentless flow of information.
"The Essence of Readability and Simplicity" beckons all who behold it to rediscover the quiet sanctuaries of knowledge, embrace the allure of artistic heritage, and cherish the profound connections beyond the flood of high-tech media. In this fleeting moment, captured for eternity, we find solace, inspiration, and an invitation to cherish the beauty of life before the relentless pace of technology overtakes us all.
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lokuhapuarachchi · 8 months
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කියවීම සහ සරල බවේ සාරය
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ලිවර්පූල් පුස්තකාලයේ හදවතෙහි, නූතනත්වයේ ස�� තාක්ෂණික ධාරාවල ධාරා මධ්‍යයේ, සන්සුන් භාවයේ සහ සරලත්වයේ නොනැසී පවතින බලකොටුවක් ඇත. 2023 ජුලි 20 වැනි දින, අමතක වී ඇති බව පෙනෙන යුගයක සාරය සංග්‍රහ කළ මනරම් මොහොතක් ග්‍රහණය කර ගැනීමේ වරප්‍රසාදය මට හිමි විය.
අධි තාක්‍ෂණික මාධ්‍ය හරහා ගලා එන තොරතුරු ගැන වගේ වගක් නැති හුදකලා චරිතයක්, පෞරාණික ලෝහ පඩිපෙළවල ශක්තිමත් පියගැටපෙළ යට සැනසීමක් ලබා ගත්තේය. සාම්ප්‍රදායික කඩදාසි  පුවත්පතක් අතේ තබාගෙන, බොහෝ වෙලාවක් ඇස් ඒ අතර යවමින් ඔහු ලිඛිත වචනයේ අධිෂ්ඨානශීලී භාරකරුවෙකු ලෙස පෙනී සිටියේය. එය අතථ්‍යත්වය විසින් පරිභෝජනය කරන ලද ලෝකයක ස්පර්ශ කළ හැකි දැනුමේ කල්පවත්නා බලය පිළිබඳ සාක්ෂියකි. උමතු වූ තොරතුරු ප්‍රවාහයෙන් රැකවරණයක් වැලඳ ගන්නාක් මෙන්, අතීත පරම්පරාවල ප්‍රඥාව හා විඥානය සමඟ ගැඹුරු සම්බන්ධයක් පිළිබිඹු කරමින් ඔහුගේ ශරීර භාෂාව මට බොහෝ දේ කීවේය.
ගෘහ නිර්මාණ ශිල්පය සමඟ කලාත්මක බව බද්ධ වූ  නිහඬ පුස්තකාලය තුළ, සිත් ඇදගන්නාසුළු සංධ්වනියක් මතු විය. ප්‍රවීණ කලාකරුවෙකුගේ පළපුරුදු බුරුසු පහරවල් මෙන් පැරණි මාදිලියේ අත්වැට මගේ දර්ශනපතය හරහා කවාකාරව ගලා ගොස් ඔහු වටා එතුනේය. එම දර්ශනය පුස්තකාලයේ අභ්‍යන්තරයේ කලාත්මක ආකර්ෂණය සංකේතවත් කළ අතර, මානව උත්සාහයේ සහ ඓතිහාසික ගැඹුරේ සුසංයෝගී වියනක් ගොතන ලදී. එම වියමන මගේ රූප රාමුව තරණය කර මේ මිනිසා කරා කලා ගියේ සරල කාලයන් සහ ගැඹුරු සාරධර්ම ගැන මුමුනන බව පෙනුණු වැලඳ ගැනීමෙනි.
ස්වභාවික ආලෝකයේ වාදනය, මගේ කැමරාවේ තාක්ෂණික සැකසුම් පරිපූරණය කිරීම සඳහා විශිෂ්ට ලෙස භාවිතා කර, මෘදු, අලංකාර වර්ණවලින් රාමුව  පින්තාරු කළේය. මිනිසා සහ ඔහුගේ වටපිටාව මෘදු බැබළීමකින් ආලෝකමත් කරමින්, එය ඔහුට සදාකාලික ප්‍රඥාවේ සහ නිහඬ අලංකාරයේ ප්‍රභාවක් ලබා දුන්නේය. සෙවනැලි සහ ආලෝකයේ නර්තනය සම්ප්‍රදාය සහ නූතනත්වය අතර ඇති දැඩි වෙනස තවදුරටත් අවධාරණය කළ අතර, තාක්‍ෂණික දියුණුව ඉක්මවා යන අස්පෘශ්‍ය සාරය ගැන මෙනෙහි කිරීමට අපව පොළඹවයි.
මෙම ඡායාරූප සංධ්වනිය හරහා මම උත්සාහ කළේ කාලය ඉක්මවා යන මොහොතක් ආරක්ෂා කර ගැනීමට සහ විරාමයක් තබා ආවර්ජනය කිරීමට නරඹන්නාට ආරාධනා කරන මොහොතකි. රූපයේ දකුණුපස ඇති සුදු පැහැති පඩි ජීවිතයේ පරිවර්තනය හඟවන නමුත් එය මගේ කතා නායකයාගේ රූපය හා සම්බන්ධ වී නැත. ලිඛිත වචනය කෙරෙහි මිනිසාගේ නොසැලෙන භක්තිය සහ ඔහු වටා ඇති ගෘහ නිර්මාණ ශිල්පය සමඟ සාමකාමී සහජීවනය සරල බවේ සුන්දරත්වය සහ අතීතයේ පාරිශුද්ධත්වය සමරයි. වේගවත් තොරතුරු ප්‍රවාහයෙන් ආධිපත්‍යය දරන යුගයක, මෙම රූපය අපට නිශ්චල බව වැළඳ ගැනීමේ සහජ වටිනාකම සහ ඩිජිටල් ක්ෂේත්‍රයෙන් ඔබ්බට ඇති මානව සම්බන්ධතාවල පොහොසත්කම අපට මතක් කර දෙයි.
"කියවීම සහ සරල බවේ සාරය" එය නරඹන සැමට දැනුමේ නිහඬ පූජනීය ස්ථාන, කලාත්මක උරුමයේ ආකර්ෂණය සහ අධි තාක්‍ෂණික මාධ්‍යවල ගංවතුරෙන් ඔබ්බට ගිය ජීවිතයක් ගත කිරීමේ ගැඹුරු වැදගත්කම නැවත සොයා ගැනීමට ආරාධනා කරයි. සදාකාලිකත්වය සඳහා ග්‍රහණය කරගත් මෙම තාවකාලික මොහොතේදී, තාක්‍ෂණයේ උමතු වේගය අප සියල්ලන්ම අභිබවා යාමට පෙර ජීවිතයේ සුන්දරත්වය වැළඳ ගැනීමට අපට සැනසීමක්, ආශ්වාදයක් සහ ආරාධනයක් ලැබේ.
සටහන සහ ඡායාරූපය - #අනුරුද්ධ ලොකුහපුආරච්චි 
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lokuhapuarachchi · 4 years
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YOUR PHOTOGRAPHY CONTEST TO 2020
Photography is a medium of a good combination of science and art. Person brain reacting when he sees something and react to hold whatever in front through the camera. Capturing pictures at the exact instant occur solidifies that moment in a visual form, as it is likely may never occur or be replicated again. A really professional photographer identifies and is prepared for these moments, and is ready with the camera at hand to achieve the best possible shot. you may have already capture best images. Then...why are you hiding those image.
According to Fiona Rogers from Magnum "Competitions can be a great way of inviting a little discipline into projects. The application process itself can encourage a better articulation of a project and provide photographers with an opportunity to consider their work more objectively". International Photography competitions celebrate the world’s best photographers, both known and unknown based on their skillset and talent alone. These competitions share and praise the photographers work both online and offline, giving the artist the exposure they need to progress their photography further.
By taking part in these competitions, you can win big. Either cash prizes, photography related gift, cash or international exposure to your work.
Here are major photography contests you should enter in 2020.
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iPhone Photography Awards
Deadline: March 31, 2020
Requirements
Entries are open worldwide to photographers using an iPhone or iPad. Photos should not be published previously anywhere. The posts on personal accounts (Facebook, Instagram etc.) are eligible. The photos should not be altered in any desktop image processing program such as Photoshop. It is OK to use any IOS apps.
The use of any iPhone is permissible. iPhone add-on lenses can be used. In some cases we may ask the original image to verify that it’s taken with an iPhone, iPad. The photos that can not be verified are disqualified.
The submissions must be in the original size or not smaller than 1000 pixels in either height or width.
Categories
Abstract, Animals, Architecture, Children, Floral, Landscape, Lifestyle, Nature, News and Events, Panorama, People, Portrait, Series (3 images), Still Life, Sunset, Travel, Trees, Other.
Prizes
All photographers compete for the 4 IPPAWARDS Photographers of the Year. Grand Prize, 1st, 2nd and 3rd place.
Top Prizes :: All entries compete for the prestigious IPPA Photographer of the Year Award title, and the top 3 winners will receive a prize to be announced later.
18 Gold Bars :: The 1st place winner of the 18 categories will win a Gold Bar from the most recognizable private gold mint in the world.
18 Platinum Bars :: The 2nd and 3rd place winners of the 18 categories will win a Palladium Bar from the most recognizable private gold mint in the world.
The work of the top winner and the 1st, 2nd, 3rd Place Winners on each category will be publicized on IPPAWARDS online gallery and any published IPPAWARDS materials.
Certificates in all Categories :: All 1st, 2nd and 3rd place winners from each categories will receive a IPPAWARDS certificate.
Honorable Mentions :: IPPAWARDS judges will award several Honorable Mention to entries to acknowledge talent as they deem fit.
Judging Criteria :: Members of the Jury will review all entries and judge images on the basis of artistic merit, originality, subject, and style and ultimately decide the winners.
Entry Fees
1 image:$3.50, 3 images:$9.50, 5 images:$15.50, 10 images:$29.50, 15 images:$45.50, 20 images:$57.00, 25 images:$65.50. There are no limits in the number of entries however we recommend that you only submit your best ones.
Return of the Entries
Entries will not be returned. Only winning entries will be kept on file for promotional purposes. IPPAWARDS will not be responsible for any damaged or lost submissions.
Use of images & disclaimer
Copyright and all other rights remain that of the photographer. Any photograph used by IPPAWARDS shall carry the photographer’s credit line. Use may include publication in any IPPAWARDS media sponsor publication. All entrants understand and agree that any image submitted to the competition may be used by IPPAWARDS to use for marketing and promotional purposes including in any media such as exhibitions, print and digital media directly related to the IPPAWARDS competition. Participants represent and warrant that (1) the Photographs are original and that they own the rights to their Photographs, (2) the Photographs do not violate the rights of any third party, (3) the Photographs do not convey a false or misleading impression, and (4) any additional information they submit about the Photographs is accurate.
Winner Notification
All winners will be announced online eight to twelve weeks after the final submission deadline. Only top winners in each categories will be notified before the official announcement.
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neutral density photography awards 2020
ND AWARDS 2020 GUIDELINES
Photographs must be resized to 1100 pixels on the longest side. They must be saved as JPEG file (JPG). Prepare your files with the following specifications: - sRGB or Adobe98 colour space, 8-bit; - longest dimension 1100 pixels; - saved as a JPEG at a setting of 10 (100%) or higher; - no watermarks / copyright units / personal logos on images; - only bleed photographs without borders*; *except Polaroids and other traditional process photos where border is inherent part of the image.
nd awards 2020 categories info Categories are in two sections: Professional and Non-Professional. There is no limit to the number of individual images or image series each photographer may submit. You may enter all your images into 1 category, or any of the 30 sub-categories. You may also enter the same image into as many categories as you wish. Your photos will be rated individually by an esteemed panel of international judges, including: gallery owners, publishers, editors and renowned photographers. Winners of each subcategory will be awarded with: Gold Star, Silver Star and Bronze Star awards.
professional categories
architecture:- Bridges, Buildings, Cityscapes, Interior, Other
editorial:- Daily Life, Documentary, Environmental, General News,Other, Photo Essay / Story,Sports,
fine art:- Abstract, Conceptual, Landscape, Nudes, Photomanipulation 
nature:- Aerial, Landscapes, Other, Seascapes /Waterscapes, Trees, Underwater, Wildlife 
people:- Children,Fashion / Beauty,Other,Portrait,Travel / Culture,Wedding / Family 
special:- Advertising, Drone Photography,Long Exposure, Mobile Photography, Night Photography
non-professional categories
architecture:- Bridges, Buildings, Cityscapes, Industrial, Interior, Other
fine art:-  Abstract, Conceptual, Landscape, Nudes, Other, Photo manipulation
nature:- Flowers, Landscapes, Macro, Other, Seascapes / Waterscapes, Trees, Wildlife
people:-  Children, Family, Fashion / Beauty, Other, Portrait, Self-Portrait,Travel / Culture
special:- Drone Photography, Long Exposure, Mobile Photography, Night Photography, Open Them, Panoramic, Photojournalism / Story, Street Photography
Here are the details about entry fees and deadlines for 2020 edition of ND Awards. early deadline entry fees and date Early Deadline 26 April 2020 Non-Professional - Single image entry fee: $15 Non-Professional - Series entry fee (from 2 to 5 images): $20 Professional - Single image entry fee: $20 Professional - Series entry fee (from 2 to 5 images): $25 final deadline entry fees and date Final Deadline 20 September 2020 Non-Professional - Single image entry fee: $20 Non-Professional - Series entry fee (from 2 to 5 images): $25 Professional - Single image entry fee: $25 Professional - Series entry fee (from 2 to 5 images): $30 multiple category entries Additional Fee $10 per category winners announcement 22 November 2020
prizes
2020 professional grand prize professional grand wrize winner will receive: $2,500 cash prize, ($2000 + $500 for category winner) title: ND Photographer of the Year, monthly feature on the front page of ND Magazine, showcase for a year at the front page of Winners' Gallery and international press and publicity, winners logo and certificate.
2020 non-professional grand prize non-professional grand prize winner will receive: $1,300 cash prize, ($1000 + $300 for category winner) title: ND Discovery of the Year, monthly feature on the front page of ND Magazine, showcase for a year at the front page of Winners' Gallery and international press and publicity, winners logo and certificate.
2020 professional category winners 6 professional category winners will receive: $500 cash prize each, titles: - ND Architectural Photographer of the Year - ND Editorial Photographer of the Year - ND Fine Art Photographer of the Year - ND Nature Photographer of the Year - ND People Photographer of the Year - ND Special Category Photographer of the Year weekly feature on the front page of ND Magazine, showcase at the Winners' Gallery and international press and publicity, winners logo and certificate.
2020 non-professional category winners 5 professional category winners will receive: $300 cash prize each, titles: - ND Architectural Discovery of the Year - ND Discovery Photographer of the Year - ND Discovery Photographer of the Year - ND People Discovery of the Year - ND Special Category Discovery of the Year weekly feature on the front page of ND Magazine, showcase at the Winners' Gallery and international press and publicity, winners logo and certificate.
2020 subcategory winners professional and non-professional subcategory winners will receive: Gold, Silver and Bronze medals, showcase at the online Winners' Gallery, winners certificate.
2020 honorable mentions professional and non-professional honorable mentions winners winners will receive: Honorable Mention medal, showcase at the online Winners' Gallery, winners certificate.
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ANNUAL IPA PHOTOGRAPHY COMPETITION
The International Photography Awards conducts an annual photography competition for professional, non-professional, and student photographers on a global level, creating one of the most ambitious and comprehensive competitions in the photography world today. The IPA recognizes photography’s leading talents who are creating, shaping and defining the world of photography today.
– Be honored by receiving the coveted Lucie Statue at the Lucie Awards Gala – Receive the IPA Trophy at the “Best of Show” Exhibition in New York City   New – Be Published in the IPA Annual Book of Photography – Be Featured in the IPA Best of Show Exhibition in New York City and beyond – Win $47,500 in cash prizes – And more!
PRIZES
International Photographer of the Year Award The top award in the Professional Categories includes The Lucie Trophy and a $10,000 cash prize, sponsored by AtEdge
Discovery of the Year Award: The top award in the Non-Professional Categories includes The Lucie Trophy and $5,000 cash prize
The winner of these two awards will be announced during the Lucie Awards Ceremony.
Category Winners – Professional
The 13 Category winners in the professional categories will each receive a $1,000 cash prize and 2 tickets to attend the Lucie Awards Gala in New York City, where they will be finalists for the International Photographer of the Year award.
An additional $500 allowance towards their travel/accommodation costs will be given to every category winner joining the Lucie event week in New York (Lucie Awards & IPA Best of Show (*). They will also receive the IPA Trophy, which will be awarded at the opening of the curated IPA Best of Show exhibition in New York City, where their winning work will also be featured.   New
Category Winners – Non-professional
The 13 Category winners in the Non-Professional categories will each receive a $500 cash prize and 2 tickets to attend the Lucie Awards Gala in New York City, where they will be finalists for the Discovery of the Year award.
An additional $500 allowance towards their travel/accommodation costs will be given to every category winner joining the Lucie event week in New York (Lucie Awards & IPA Best of Show (*). They will also receive the IPA Trophy, which will be awarded at the opening of the curated IPA Best of Show exhibition in New York City, where their winning work will also be featured.   New
* The travel allowance will be given only to those finalists who choose to attend the event, and will be reimbursed to the attendee after the Lucie Awards & IPA Best of Show have concluded.
Prizes for 1st, 2nd, and 3rd prize winners in all sub-categories include:
Printable Winner Certificate and IPA Seal
Publication in the IPA Annual Book of Photography
A curated selection of winning images to be exhibited in the IPA Best of Show Exhibition which opens in New York City during the Lucies, and is shown around the world through the following year.
Receive significant international publicity and extensive media exposure through our online promotional campaign, and magazine and newspaper partners distributing and promoting winners works.
1 Free ticket to attend the Lucie Awards Gala in New York City.
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CA 2020 Photography Competition
Deadline: March 06, 2020
Enter the most prestigious competition for creativity in photography, the Communication Arts Photography Competition. Any photograph first published or produced from March 2019 through March 2020 is eligible. Selected by a nationally representative jury of distinguished designers, art directors and photographers, the winning entries will be distributed worldwide in the Communication Arts Photography Annual, in print and digital editions, and on commarts.com, assuring important exposure to the creators of this outstanding work. As a service to art directors, designers and art buyers, a comprehensive index will carry contact information of the photographers represented.
Each winning entrant will receive a personalized Award of Excellence, milled from solid aluminum, and award certificates issued for firms, individuals and clients.
CA’s Award of Excellence is one of the most-coveted awards in the industry. If chosen, winning places you in the highest ranks of your profession.
What to Enter Any photograph first published or produced from March 2019 through March 2020 is eligible. Entries may originate from any country. Explanation of the function in English is very important to the judges. Submission of entries acknowledges the right of Communication Arts to use them for publication and exhibition.
Photography Competition Categories These categories are judged by the Photography jury and will appear in the Photography Annual. For a list of fees, please download the category PDF:
Advertising: ads, posters, music and product packaging, etc. Books: covers, jackets, interiors, etc. Editorial: consumer or trade magazines, newspapers, etc. For Sale: posters, prints, greeting cards, licensing/stock, gallery sale, online store, etc. Institutional: company/association publications, annual reports, catalogs, client websites, blogs, etc. Motion/Cinematography: time-based media for film, television, video or web, etc. Self-Promotion: promotion for photographers, design firms, ad agencies, art schools, printers, paper companies, etc. Unpublished: experimental/personal work not published. Student Work: photography or cinematography projects created for school assignments.
Late Fees Entries must be registered no later than Midnight (Pacific Standard Time), March 6, 2020. Entries registered after that date require a late fee of $10 per entry. No entries can be registered after March 20, 2020.
Each photograph is a single entry. A printed piece with several photographs must have a dot or some other mark indicating which specific single photograph is to be judged. If a single photograph isn't indicated, the entry will be disqualified.
Campaigns or series are limited to five photographs. If the entry has more than five photographs, indicate which five are to be judged. If this isn't indicated, the entry will be disqualified.
Enter Now
How to Enter All competition entries are processed through our online competition system.
Before you begin the process of entering a competition, please have the following information and materials ready. This will make the process go quickly.
• Your contact information for registration and notification. • Title and basic credits for each project. • Printed copies or digital files of work you want to submit. See below for file specs.
Please submit only one version of each entry (i.e.: do not send printed copies if you already uploaded digital files of the same entry). Entries can be submitted in the following formats:
Print Entries: Must be unmounted and sent to our office by mail/courier. Each photograph is a single entry. A printed piece with several photographs must have a dot or some other mark indicating which specific single photograph is to be judged. If a single photograph isn't indicated, the entry will be disqualified. Campaigns or series are limited to five photographs. If the entry has more than five photographs, indicate which five are to be judged. If this isn't indicated, the entry will be disqualified. Do not tape series together. Any project over 18" x 24" must be submitted as digital images.
Digital Images: Must be RGB in JPG format with a maximum width of 1024 pixels and a maximum height of 768 pixels at 72 dpi. NO EXCEPTIONS. Digital images will be projected for the judges using an HD projector on a 6' x 4' screen.
Motion/Cinematography Entries: Must be in MOV, MP4 or MGPG format, with a maximum file size of 1 GB. Include 4 seconds of black, no slates or bars, at the beginning of each video and 2 seconds at the end.
No entries will be returned. NO EXCEPTIONS. CA is not responsible for damage or loss of any entry. All entrants grant Communication Arts the right to reproduce work selected in the Photography Competition on the Communication Arts website and in materials used to promote the magazine, the competition and/or future related promotions.
Preparation of Packages All pieces sent in physical form must have an entry form taped to the back of the work. Do not send work in poster tubes as they are frequently damaged in transit. Non-United States contestants should mark each package “Materials for Contest Entry. No Commercial Value.” No provision will be made by Communication Arts for U.S. Customs or airport pickup. International entries should be sent by post or international courier. All entries must be received by the final deadline date.
Forms and Entry Fees Once you have completed the registration process, a PDF with a receipt or invoice and entry forms for physical submissions will be generated. You must print, trim and attach the entry forms to the back of your physical entries. If the entry is a print-based campaign, you will tape an entry form to each piece included in the campaign. Entries on disk require an entry form taped to the outside of each disk case. Multiple digital files may be placed on a single disk. Please tape all applicable entry forms one on top of the other so we can flip through them to verify the contents of the disk. Do not send any entries without entry forms attached.
We accept Visa, MasterCard, American Express, Discover and PayPal through our online competition system. Charges for your entry fees will appear on your statement as (“Commarts”). We also accept checks, international money orders and wire transfers. Make checks payable to Communication Arts. Non-United States contestants wishing to pay by check must send a check in U.S. funds drafted on a U.S. bank. Please include the check or money order with your entries if you are delivering them via mail/courier. If your payment is being sent under a separate cover, please include a note with your entries indicating that the check or money order is coming under separate cover. If you submit all of your entries online, please send a copy of the invoice you print out at the end of the entry process with the check or money order. Please note on wire transfers: We require an additional fee of $25 (U.S.) to cover fees charged by the banks to process the transfer.
Refund Policy All entry submissions are final and entry fees are nonrefundable.
Mail entries to: Communication Arts Photography Competition 110 Constitution Drive Menlo Park, CA 94025-1107 USA
(Via United States Mail, FedEx, UPS, etc. Entrants submitting from outside the U.S., please use an international courier.)
Notification of Acceptance Only accepted entrants will be notified within two months after the final deadline date due to the number of entries we receive. Complete credits and any necessary material for the best possible reproduction in the Annual will be requested at that time.
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Calling all travel photographers — the National Geographic Traveller (UK) photography is back and open for entries.
In a bid to find the best talent in the country, our prestigious annual competition invites photographers of all levels from across the UK and Ireland to submit their travel images taken in the past year in one of four categories: Cities, Landscapes, Nature and People.
The grand-prize winner will head to Mexico with National Geographic Journeys; and the Category winners will receive a Manfrotto tripod. Selected entrants will also be included as part of a global press and media campaign, and featured on the National Geographic UK website.
As long as the image is travel-based, the subject matter can be anything of your choosing.
Entries should be submitted by 23 February 2020.
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Nikon’s Small World
Celebrating 45 years of images captured by the light microscope
Nikon’s Small World is regarded as the leading forum for showcasing the beauty and complexity of life as seen through the light microscope. The Photomicrography Competition is open to anyone with an interest in microscopy and photography. The video competition, entitled Small World In Motion encompasses any movie or digital time-lapse photography taken through the microscope.
ENTER THE COMPETITIONS
Deadline for Entries
Apr 30, 2020
Nikon Small World Photomicrography Competition Official RulesNO PURCHASE NECESSARY. A PURCHASE OR PAYMENT OF ANY KIND WILL NOT INCREASE YOUR CHANCES OF WINNING.
1. ELIGIBILITY: The Nikon Small World Photomicrography Competition (the “Competition”) is open only to individuals who are at least eighteen (18) years old at the time of entry and have access to a light microscope. The following individuals are not eligible to enter the Competition: (a) employees of Nikon Instruments Inc., Shaw & Todd, Inc., their respective parent companies and affiliated companies, and/or the immediate family (spouse, parents, siblings and children) and household members of each such employee, (b) the Competition Judges, regardless of the date of appointment, and/or their immediate family and household members, and/or (c) individuals engaged (as a business owner or employee) in the manufacture, distribution and/or sale of microscopes, related accessories and/or photographic equipment. PARTICIPATION IN THE COMPETITION AND/OR THE RECEIPT OF ANY PRIZE MAY BE RESTRICTED OR VOID WHERE PROHIBITED.
2. SPONSOR: Nikon Instruments Inc., a Delaware corporation, 1300 Walt Whitman Road, Melville, NY 11747. ADMINISTRATOR: Shaw & Todd, Inc., 5 Warren Drive, Marlboro, New Jersey 07746.
3. AGREEMENT TO OFFICIAL RULES: Participation in this Competition constitutes the entrant’s (“you,” “your” or the “Entrant”) full and unconditional agreement to these Official Rules and Sponsor and/or Administrator’s decisions, which are final and binding in all matters related to this Competition. Winning a prize is contingent upon fulfilling all requirements set forth herein.
4. TIMING: Sponsor will receive entries to the Competition beginning on May 1, 2019 at 12:00 a.m. Eastern Time USA ("ET") and ending on April 30, 2020 at 11:59 p.m. ET (the "Competition Entry Period"). Sponsor's computer is the official time-keeping device for the Competition.
5. HOW TO ENTER: During the Competition Entry Period, visit
www.nikonsmallworld.com
(the “Website”) and:
(a) Follow the links and instructions to complete the Competition entry form (the “Entry Form”), including your name, telephone number, email address, a valid home address (P.O. Boxes are not permitted), country, the school, institution or other organization the Entrant is affiliated with (the “Affiliation”) and the address of such Affiliation, the type, make and model of the equipment used to capture the entry(ies) submitted to this Competition, a description of each image submitted, and other information requested by Sponsor (collectively, the “Registration Information”);
(b) Upload up to three (3) photomicrographic digital images taken by the Entrant (collectively, the “Images”) to the Entry Form.
(c) Indicate your agreement with these Official Rules and that Sponsor may contact Entrant regarding this Competition using any of the Registration Information submitted on the Entry Form, by checking the box displayed on the Entry Form and submitting the Entry Form together with all Registration Information and Images.
The Registration Information and Images are both required to enter this Competition and are hereinafter collectively referred to as your “Submission.” Submissions will be accepted only until the end of the Competition Entry Period, that is, April 30, 2020 at 11:59 p.m. ET. By uploading your Submission, you represent, warrant and agree that your Submission conforms to the Guidelines and Restrictions set forth below (collectively, the “Guidelines and Restrictions”) and that Sponsor and/or Administrator, in their sole discretion, may remove your Submission and disqualify you from the Competition if it believes, in its sole discretion, that your Submission fails to conformin any way whatsoever to the Guidelines and Restrictions. All Submission files will be retained by Sponsor and will not be returned to the Entrant.
Guidelines and Restrictions
Images must be submitted in .jpeg, .png, .psd, or .tiff format.
Images should be submitted with the highest quality with regard to file size, bit depth and resolution.
Images do not need to be taken with a Nikon-branded microscope.
Images must be taken by Entrant using a light microscope. Images taken with an electron or any other microscope(s) that do not capture imagery using optical light technology are not eligible.
Macro photography is not eligible.
Images that have competed previously in any active or ongoing photomicrography competition, and/or that have won any other photomicrography competition, are not eligible.
The Submission must be in the English language.
The Submission must not contain material that violates or infringes another’s rights, including but not limited to trademark, privacy, publicity or other intellectual property rights, or that constitutes copyright infringement.
The Submission must not disparage Sponsor, Administrator or any other person or entity.
The Submission must not contain brand names, logos and/or trademarks; any URL addresses; and/or the names, addresses, phone numbers, email addresses, image, and/or likenesses of third parties.
The Submission must not contain viruses, Trojan horses, worms, bots, spyware or any other computer code that is intended to or does damage, interfere with and/or surreptitiously intercept or expropriate any system, data or information.
The Submission must not contain material that is inappropriate, indecent, discriminatory, obscene, hateful, tortious, defamatory, slanderous or libelous, or contain material that is otherwise unlawful, in violation of or contrary to any applicable laws or regulations.
Each Entrant may upload a maximum of three (3) Images during the Competition Entry Period. Submissions received from any person or email address in excess of the stated limit will be void. Submissions generated by script, macro or other automated means are void. Entrant represents and warrants that he or she owns the rights to the Submission and has the full right and authority to submit the Submission to the Competition.
In the event of a dispute as to any Submission, the authorized account holder of the email address used to register will be deemed to be the Entrant. The "authorized account holder" is the natural person assigned an email address by an Internet access provider, online service provider or other organization responsible for assigning email addresses for the domain associated with the submitted address. Each Entrant may be required to show proof of being an authorized account holder.
6. PUBLICITY: Entering a Submission to the Competition constitutes Entrant’s express consent that if awarded a Prize (as hereinafter defined), Entrant agrees and grants to Sponsor and its affiliates, agencies, dealers, distributors, resellers, licensees, media outlets used, successors and assigns, and/or Administrator (collectively, the “Nikon Parties”) a non-exclusive, worldwide, royalty-free, fully-paid, irrevocable, perpetual right and license to reproduce, modify, post, publish, edit, reformat, shorten, display and/or otherwise use Entrant’s Images and/or Entrant’s name, city, country, and/or Affiliation, in whole or in part, for promotional, trade, marketing and/or publicity purposes solely in connection with the Competition, in any form, media or technology now known or later developed including but not limited to websites, social media pages, printed materials, traveling exhibits, the Nikon Small World calendar, in emails, and/or at trade shows and events, without any compensation, notification, permission or other consideration. If requested, Entrant will sign any releases and/or other documentation that may be required for Sponsor and/or other Nikon Parties to make use of the rights Entrant is granting to use the Submission as described herein. Subject to the foregoing license, Entrant shall retain ownership of the copyright to the Images. Each winner accepts and acknowledges that Sponsor shall not be obligated to use the Submission or any part thereof, and that Sponsor in its sole discretion shall have the right to refrain from using the Submission. Sponsor shall not incur any liability whatsoever to the extent Sponsor chooses to refrain from any exploitation of its rights hereunder.
7. WINNER DETERMINATION: After the Competition Entry Period, a panel of qualified judges determined by Sponsor and/or Administrator in their sole discretion (the “Judges”) will select the twenty (20) Entrants (the "Finalists") from among all eligible Submissions based on the following criteria (“Judging Criteria”):
Creativity/Originality
Informational Content
Technical Proficiency
Artistic and Visual Impact
The Judges will determine the first (1st) place through twentieth (20th) place winners based on the Judging Criteria. Separate Honorable Mention and Images of Distinction awards may be awarded in the sole discretion of the Judges. Sponsor and/or Administrator reserves the right to select fewer than twenty (20) Finalists, if, in its sole discretion, it does not receive at least twenty (20) eligible and qualified Submissions.
8. WINNER REQUIREMENTS: Potential winners will be notified by email, mail or phone on or around August 15, 2020 that they have won a Prize in the Competition and that the specific Prize level awarded will be publicly announced on or around October 15, 2020. Each potential winner (or parent/legal guardian if a minor in his/her jurisdiction) will be required to sign and return a Certification of Eligibility, Liability and Publicity Release and applicable tax forms, which must be received by Administrator within seven (7) days of the date notice or attempted notice is sent, in order to claim the Prize. If a potential winner cannot be contacted, fails to execute and return the Certification of Eligibility, Liability and Publicity Release and tax forms or provide any other requested information within the required time period, does not comply with these Official Rules, or a Prize is returned as undeliverable, then the potential winner forfeits the Prize. If a potential winner is disqualified for any reason, the Prize may be awarded to a runner-up, if any, in Sponsor and/or Administrator’s sole discretion. Prizes will be fulfilled within eight (8) weeks after the confirmation of the winners. In the event the winning Entrant requests that Sponsor credit additional individuals with respect to the winning Submission in any Competition publicity, such mention may be included, declined and/or omitted by Sponsor in Sponsor’s sole discretion.
9. PRIZES: There will be twenty (20) winners ranked from first (1sT) place through twentieth (20th) place, plus Honorable Mention prizes, and prizes for images of distinction if and as determined by the Judges (collectively, the “Prizes”).
First Prize: Three Thousand U.S. Dollars ($3,000.00)
Second Prize: Two Thousand U.S. Dollars ($2,000.00)
Third Prize: One Thousand U.S. Dollars ($1,000.00)
Fourth Prize: Eight Hundred U.S. Dollars ($800.00)
Fifth Prize: Six Hundred U.S. Dollars ($600.00)
Sixth Prize: Four Hundred U.S. Dollars ($400.00)
Seventh, Eighth, Ninth and Tenth Prizes: Three Hundred U.S. Dollars ($300.00) each.
Eleventh, Twelfth, Thirteenth, Fourteenth, Fifteenth, Sixteenth, Seventeenth, Eighteenth, Nineteenth and Twentieth Prizes: Two Hundred U.S. Dollars ($200.00) each.
Honorable Mentions: One Hundred U.S. Dollars ($100.00) each. The number of Honorable Mention Prizes will be determined by the Judges in their sole discretion.
Images of Distinction: One (1) Nikon-branded backpack having a retail value of approximately Thirty-Five (USD$35.00) Dollars (the “Bag”). The number of Images of Distinction Prizes will be determined by the Judges in their sole discretion.
All Prizes except for the Bag will be awarded in the form of a Visa gift card preloaded in the amount of the Prize in U.S. Dollars (the “Gift Card”). Visa is not a sponsor of or otherwise associated with this Competition. The Gift Card is subject to Visa’s applicable terms and conditions, which may include an expiration date for use. Winners are solely responsible for any and/or all taxes and fees associated with the receipt and/or use of any Prize. Each Prize shall be awarded in full to the winner who is the registered Entrant. Prizes will not be awarded, split or apportioned between or among multiple individuals.
All Prizes are non-transferable and no substitution will be made except at the Sponsor’s sole discretion. Sponsor reserves the right to substitute a Prize for one of equal or greater value if the designated Prize should become unavailable for any reason. The Bag and/or any item awarded in substitution of the Bag is provided “as-is” without any warranties or guarantees whatsoever of any kind, express or implied, including but not limited to warranties of merchantability or fitness for a particular purpose.
There is a limit of one (1) Prize per Image submitted to the Competition. Any Entrant who has won the First Prize in any of the three (3) Nikon Small World Competitions immediately preceding this Competition are not eligible to win the First Prize in this Competition, but may win other Prizes.
10. RELEASE: By receipt of any Prize, winners agree to and shall release, indemnify and hold harmless Sponsor, Administrator and the other Nikon Parties, and each of their respective parent companies, subsidiaries, affiliates, suppliers and agencies and each such company’s officers, directors, employees and agents (collectively, the “Released Parties”) from and against any claim, damage, losses, liabilities, causes of action, costs and expenses (including but not limited to reasonable attorneys’ fees) including, but not limited to, personal injury, death, or damage to or loss of property, arising out of any breach of these Official Rules, participation in the Competition, receipt or use or misuse of any Prize, and/or claims by any individual(s) associated with the winning Entrant or Submission that they are entitled to all or any portion of a Prize.
11. GENERAL CONDITIONS: Sponsor reserves the right to update, change or modify these Official Rules in its sole discretion without notice. Sponsor reserves the right to cancel, suspend and/or modify the Competition, or any part of it, if any fraud, technical failures, human error or any other factor impairs the integrity or proper functioning of the Competition, as determined by Sponsor and/or Administrator in their sole discretion. If terminated, Sponsor may, in its sole discretion, determine the winners from among all non-suspect, eligible Submissions received up to time of such action using the judging procedure outlined above. Sponsor and/or Administrator, in their sole discretion, reserve the right to disqualify any individual it finds to be tampering with the Submission process or the operation of the Competition or to be acting in violation of the Official Rules of this or any other promotion or in an unsportsmanlike or disruptive manner and void all associated Submissions. Any attempt by any person to deliberately undermine the legitimate operation of the Competition may be a violation of criminal and civil law, and, should such an attempt be made, Sponsor reserves the right to seek damages and other remedies (including but not limited to attorneys’ fees) from any such person to the fullest extent permitted by law. Sponsor’s failure to enforce any term of these Official Rules shall not constitute a waiver of that provision.
12. LIMITATIONS OF LIABILITY: Released Parties are not responsible for: (1) any incorrect or inaccurate information by any cause including without limitation, printing, typographical or other errors or by any of the equipment or programming associated with or utilized in the Competition; (2) technical failures of any kind, including, but not limited to malfunctions, interruptions, or disconnections in phone lines or network hardware or software; (3) unauthorized human intervention in any part of the Submission process or the Competition; (4) printing, typographical, technical, computer, network or human error which may occur in the administration of the Competition, the uploading, the processing or judging of Submissions or votes or the tabulating of votes, the announcement of the Prizes or in any Competition related materials; (5) late, lost, undeliverable, incomplete, invalid, damaged or stolen mail; or (6) any injury or damage to persons or property which may be caused, directly or indirectly, in whole or in part, from Entrant’s participation in the Competition or receipt or use or misuse of any Prize (including any travel/activity related thereto). Released Parties are not responsible for lost, damages, misdirected and/or undeliverable Submissions or for any technical problems, malfunctions of computer systems, servers, providers, hardware/software, lost or unavailable network connections or failed, incomplete, garbled or delayed computer transmission or any combination thereof. Released Parties are not responsible for any unauthorized third party use of any Submission.
13. DISPUTES: Entrant agrees that: (1) any and all disputes, claims and causes of action arising out of or connected with this Competition or any Prize shall be resolved individually, without resort to any form of class action, and exclusively by the courts located in Suffolk County, New York, USA; (2) any and all of Entrant’s claims, judgments and awards shall be limited to reasonable and actual out-of-pocket costs incurred, including costs associated with entering this Competition, but in no event attorneys’ fees; and (3) under no circumstances will Entrant be permitted to obtain awards for, and Entrant hereby waives all rights to claim, indirect, punitive, incidental and consequential damages and any other damages, other than for actual out-of-pocket expenses, and any and all rights to have damages multiplied or otherwise increased. All matters, issues and/or questions concerning the construction, validity, interpretation and enforceability of these Official Rules, or the rights and obligations of the Entrant, Sponsor and/or Administrator in connection with the Competition, shall be governed by, and construed solely in accordance with, the laws of the State of New York, USA, without giving effect to any choice of law or conflict of law rules (whether of the State of New York or any other jurisdiction), which would cause the application of the laws of any jurisdiction other than the State of New York.
14. ENTRANT'S PERSONAL INFORMATION:
Neither Sponsor nor Administrator will use the Entrant’s Registration Information or share it with any third parties for any purpose, except as expressly permitted under Section 6 of these Official Rules, and/or to the extent elected by Entrant as described below in this Section 14.
Prior to entering a Submission in the Competition, each Entrant will be requested on the Entry Form to indicate his or her preferences regarding how Sponsor may use Entrant’s name, address and/or email address to contact Entrant for certain purposes such as (a) to advise the Entrant of future Competitions and/or invite the Entrant to enter such Competitions, and/or (b) to offer and/or send the Entrant a Nikon Small World calendar that includes the Competition’s winning entries. If Entrant does not tick the box next to the applicable type of communication indicating consent to receiving such communication, then Sponsor will not contact Entrant for that purpose. Upon receipt of any communications from Sponsor to which Entrant has previously consented to receiving, the Entrant may “opt out” of receiving future emails by following the link and instructions contained within the email received.
15. WINNER LIST: The winners of the Competition will be announced publicly on the Website and various online media outlets on or around October 15, 2020. To request a list of the winners of this Competition, you may send an email to
after October 31, 2020.
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Sony World Photography Awards
13 year partnership with Sony bringing you one of the world's leading photography competitions
The Sony World Photography Awards has four competitions:
Professional - Recognising outstanding bodies of work
Open - Rewarding exceptional standalone images
Youth - Celebrating the best single images by emerging photographers aged between 12-19 years-old
Student - Providing a platform for photography students worldwide
The Awards are your chance to have your work recognised globally and has the power to change the careers of those who win and are shortlisted. The democratic approach of the Awards means all artists working across photography have equal opportunity to win and be seen by leading industry experts.Every competition is free to enter and categories are designed to be open to all photographic genres and abilities.Successful photographers can receive:Inclusion in global and country-specific media and marketing campaigns Exhibition at Somerset House, London Potential to be included in international exhibitions Inclusion in the Sony World Photography Awards book Opportunity to apply for the Sony Grant to further personal photographic projects The World Photography Organisation has a thriving online presence and creates dedicated campaigns to give unprecedented worldwide exposure to the Awards' successful photographers across its social media platforms, mailers and website.
By/Anuuddha Lkuhapuarachchi
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lokuhapuarachchi · 5 years
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IMG_0553 by Anuruddha Lokuhapuarachchi Via Flickr: A picture contains multiplay shots through the camera during the demonstration against Brexit at Liverpool city, December 8, 2018. Demonstrators used Brexito meter to find the public opinion. They did not accept a Government Brexit deal and demand people’s vote on the final Brexit deal. Photo by/Anuruddha Lokuhapuarachchi
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lokuhapuarachchi · 5 years
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Hugh Baird University Centre Graduation 2018
Hugh Baird University Centre Graduation 2018
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Liverpool, Hugh Baird University Centre inaugural Graduation Ceremony, where they celebrated the achievements of the class of 2018 degree graduates.
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lokuhapuarachchi · 5 years
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මාතෘකාව සහ චායාරූපය
චායාරූප සඳහා ඉතා දුර්වල සහ  ඉදිරිපත් කරන චායරූපයට කිසිම විදිහකින් බද්ධ නොවන මාතෘකා චායාරූප වලට දමනු දකින හෙයින් මේ සටහන තබමි. ඇතැමුන් චායාරූපය ගත් ආකාරය පවා තම චායාරූපයේ මාතෘකාව සේ යොදා තිබීම හාස්‍යජනක මෙන්ම කණගාටුදායකයි.      කණගාටුව නම් පඳුරක් පඳුරක් ගානෙ චායාරූප ගුරන් සිටින ලංකාවෙ මේ ආධුනිකයන්ට තමන්ගෙ චායාරූපයට මාතෘකාවක්වත් දාන හැටි කියා දෙන්න කෙනෙකු නැති වීමයි. 
චායාරූපයකට මාතෘකාවක් එහෙමත් නැත්නම් නමක් යෙදීම සැමවිටම එම චායාරූපයට පිළිගැනීමක් හා එය සදහටම මතක තබා ගත හැකි වන වැදගත් සාධකයකි. ඕනෑම ආකාරයක කලා නිර්මාණ සඳහා එයට උරුම අනන්‍යතාවයක් පවතින අතර එයට මාතෘකාවක් තෝරා ගැනීම අනිවාර්යයෙන්ම ඕනෑම නිර්මාණකරුවෙකුට අභියෝගාත්මක කාර්යයක් වේ. ඇන්ඩ්රියාස් ගුර්ස්කි වැනි
ලෝකයේ සාර්ථකම චායාරූප ශිල්පීන් හිතන්නෙ"මම කිසියම් දෙයක් නිර්මාණය කළෙමි යන්න" යන්න නොව, "එසේ නම් මම එය නිර්මාණය කරමි" යනුවෙනි. වර්තමාන ශ්‍රී ලාංකික චායාරූප කලාව පලමු සිතිවිල්ල පදනම් කර පැවතියද ඔබට සාර්ථක චායාරූප ශිල්පියෙකු වීමට අවශ්‍ය නම් ඔබ සිතිය යුත්තේ දෙවෙනි ආකාරයටය.
ලෝකයේ අධිම මිලකට අලෙවි වූ පීටර් ලික් ගේ "Phantom" (රුපියල් 1,155,361,453.32)හෝ  ඇන්ඩ්රියාස් ගුර්ස්කි ගේ “Rhein II” (රුපියල් 765,373,325.30) චායාරූප ගැන කථා කරන විට අප ඒවා නමින් හඳුන් වන්නෙමු. ඒවායේ මුල්‍ය වටිනාකම ඒවායේ නම් සමග සබැඳි ඇති බවට මෙවැනි උදාහරණ ඕන තරම් චායාරූප කලාව ���ුලින් සොයාගත හැක.   වඩා හොඳ අවබෝධයක් ලබා ගැනීම සඳහා අපට මාතෘකා ප්‍රවර්ග තුනකට බෙදිය හැක.
එක එල්ලේම සන්දර්බය මත පදනම් මාතෘකා
චායාරූපයේ දර්ශනය මත එය අවබෝධකර ගැනීමට නරඔන්නා නරඔන්නා කල යුතුව ඇති උත්සායට ඔබේ මාතෘකාවේ යෙදීම බාදාවක් නොවිය යුතු අතර මාතෘකාව එයට  උදව්ව මනක් විය යුතුය. ඔබගේ මාතෘකාව ස්ථානයේ විස්තරයක්, අභ්‍යන්තර වාක්‍යය හෝ විෂයය පමණක් විය හැකිය, නමුත් එය "සුන්දර සටහනක්" එකතු කිරීමට හැකියාව ඇති දෙයක් විය යුතුය. මෙම වර්ගයේ මාතෘකා තෝරා ගැනීම පහසු සහ සරල විය යුතුය.
මනෝභාවමය මාතෘකා
මෙවන් මාතෘකා පින්තූරය තුලින් හඟවන  භාවාත්මික හැඟීම විස්තර කරනු ලබන අතර එය නාට්ය්‍යම මනඃකල්පිතයක් විය හැක. එහිදී යෙදන වචන ප්‍රීතිය, වේදනාව, ආදරය, විශ්වාසය හෝ ජුගුප්සාය හැඟෙනු ඇත. එය චායා රූපයේ රාමුව ඇතුළත විෂයයන් අතර සංවාදයක් විය හැකි අතර චායාරූපයේ අභ්‍යන්තර ආත්මයේ හඬ නිහඬව ප්‍රකාශ කරයි. ඒ සමහර විට චායාරූප ශිල්පියාගේ අදහස් හෝ සිහින විය හැක. ඔබගේ මාතෘකාව මෙම පින්තූරය නරඹන්නාට තේරුම් ගැනීමට හා සම්බන්ධ කිරීමට අර්ථ දැක්විය යුතුය.
නිර්මාණශීලී මාතෘකා
නිර්මාණශීලී වීමට වඩා නිර්මාණකරුවකු වීමට ගත යුතු උපදෙස් දීම ඉතාම පහසුය. නිර්මාණශීලී වීම යනු ස්වයං අවබෝධය පිළිබඳ වූ කලාවකි, එය ඔබ ඔබගේ අභ්‍යන්තර ස්වභාවයට ඇහුම්කන් දීමයි. මන්දගාමී නමුත් ස්ථීරවම එය පුරුද්දක් බවට පත් වන අතර පසුව එය ඔබගේ ලක්ෂණයක් වේ. නිර්මාණශීලීත්වයේ ස්වරූපය ලබා ගැනීමට පැමිණෙන විට, ඥානවන්තව හා ප්‍රවේශමෙන් වචන තෝරාගත යුතු අතර අසාමාන්‍ය ආකාරයෙන් සිතිය යුතුය.  සරලව කියනව නම් ඔබ ඔළුවෙන් සිටගෙන ලෝකය දෙස බලා ප්‍රවේසමෙන් වචන තෝරා ගත යුතුයි. බොහෝවිට මෙම මාතෘකාවන් තියුනු ඊතලයක් වැනි ක්ෂණිකව හා පහසුවෙන් ළඟා විය හැකිය. නිර්මාණශීලී මාතෘකාවක් සහිත චායාරූප නරඹන්නාගේ මුහුණු මතට විශ්මයාර්තක ඉරියව්වක් හෝ අවම වශයෙන් සිනහවක් ඇති කරයි.
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“Phantom” by Peter Lik’s
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The Rhein II, 1999a by Andreas Gursky
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lokuhapuarachchi · 5 years
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my story First impression , http://www.photostories.org.uk/#/photo-story-5bedf92bd5da38125cab8ab7 https://www.instagram.com/p/BqPpSyHHluq/?utm_source=ig_tumblr_share&igshid=v42vpagn9y0q
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lokuhapuarachchi · 5 years
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"Lady with a Pearl Earring"
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"Lady with a Pearl Earring"  by Anuruddha Lokuhapuarachchi
"Lady with a Pearl Earring", My interpretation of painting "Girl with a Pearl Earring" by artist Johannes Vermeer 16/17th-century during the Dutch golden age. The painting has been in the collection of the Mauritshuis in The Hague since 1902. In 2006, the Dutch public selected it as the most beautiful painting in the Netherlands. A model in the picture is a middle-aged Asian wife she has many life experiences. When shooting a picture setup splitting with fill lighting technique with the black background. The colour contrast of the original image reduced through the post-processing on editing software.
Girl with a Pearl Earring is an oil painting on canvas (c.1665) by Dutch Golden Age painter Johannes Vermeer. It is a tronie (A tronie, from the 17th-century Dutch word for "face", was a portrait, not of a famous, wealthy or influential member of society, instead, often a person, who for whatever reason, has caught the attention and imagination of the artist. Old, young, beautiful, ugly, light, dark, happy, sad, tormented... a tronie is a portrait of a real person, whether acting a part or sitting as themselves, captured in a moment that the painter felt worthy of immortalizing.) of a girl wearing a headscarf and a pearl earring. The painting has been in the collection of the Mauritshuis in The Hague since 1902. In 2006, the Dutch public selected it as the most beautiful painting in the Netherlands. 
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Girl with a Pearl Earring represents a young woman in a shallow dark space, an intimate setting that draws the viewer’s attention exclusively on her. She wears a blue and gold turban, the titular pearl earring, and a gold jacket with a visible white collar beneath. Unlike many of Vermeer’s subjects, she is not concentrating on a daily chore and unaware of her viewer. Instead, caught in a fleeting moment, she turns her head over her shoulder, meeting the viewer’s gaze with her eyes wide and lips parted as if about to speak. Her enigmatic expression coupled with the mystery of her identity has led some to compare her to the equivocal subject in Leonardo da Vinci’s Mona Lisa (c. 1503–19).
Artist Johannes Vermeer is one of the great Dutch masters, though only about 35 paintings by him are known. Born in Delft in 1632, he may have been a pupil of local history painter Leonaert Bramer. Vermeer's earliest works of the 1650s include religious and mythological subjects as well as genre scenes. They are influenced by Caravaggio's followers in Utrecht, such as Hendrik ter Brugghen. Vermeer may have gained an interest in optical phenomena and the effects of the Camera Obscura from Carel Fabritius, who was active in Delft between 1650 and 1654. Vermeer was a Catholic and married in 1653, the year he became a master in the Delft painters' guild. He produced relatively few paintings and may have worked on each one over an extended period. Vermeer’s work inspired even international collectors to visit his studio. Nonetheless, by 1672 he was in financial trouble; he died insolvent in 1675, leaving his wife and many children destitute. His mature domestic genre pieces have a special pearly light. The eye is drawn into the picture by the careful placing of objects and a clearly defined architectural space. Figures pursue peaceful occupations, and the symbolic meaning of the scene is sometimes revealed through a painting within the painting. One of his painting of Saint Praxedis sold at London art auction on July 8, 2014, for 6,242,500 pounds according to Reuters.
In the 2014 December issue of Popular science magazine New Scientist, Icke, a professor of Theoretical Astronomy at the University of Leiden, states that the pearl on the ear of the famous Girl with a Pearl Earring by Vermeer, could not have been a real pearl. The way in which a pearl would reflect the light does not match the reflection of the light in the painting, says Icke.
The truth is that despite frenzied speculation (was she the artist’s daughter, or perhaps his mistress?), we will probably never know the identity of the model for Vermeer’s Girl – if there ever was one. Vermeer, himself, is a shadowy figure in the history of art. Once nicknamed “the Sphinx of Delft”, his native town which he never left, he produced little – only around three dozen paintings are today agreed to be by him. He also left behind few biographical traces, though we do know that his wife bore him 15 children.
As a photographer when recreating a painting considering many factors on a painting. The lighting of this painting is very telling and could be interpreted in many exciting ways. Where is this light that is hitting her face coming from, and why is it not shining anything in the background? In the reflection of her eyes, and in her pearl earring, you can see that there is an angle to the light that illuminates her face, and it is not from straight ahead but a little to the left. It is not some mere coincidence that the profile of her face is angled correctly to the light-she is going towards that light, and has stopped to look back. The darkness in the background is in strong contrast to the colours of her face, the emotions she is subtly expressing and the colours of her clothes. The background thus holds a sense of macabre; a grimness that surrounds this girl, and her escape seems to be towards the light. Is this girl dead, and is giving this world and the life she left behind one last look before she ascends to Heaven? If so, the dark background may suggest the corruption and worldly immorality that surrounds us, making this a very Christian painting. She could be facing a choice, between going towards the light or being enveloped in the darkness. Since the source of the light is mysterious, it echoes the blind faith that is required to believe in God, as we cannot see Him. Her gaze may be a mirroring of similar choices we have to make in our lives, whether we believe in God or not, and her expectant, sad look holds that struggle.
by/Anuruddha Lokuhapuarachchi
Reference
https://www.mauritshuis.nl/en/
https://www.nationalgallery.org.uk
https://www.reuters.com
http://www.jaffatelaqlam.com
https://www.arthistorynews.com
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lokuhapuarachchi · 6 years
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Anuruddha Lokuhapuarachchi's photostream
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lokuhapuarachchi · 6 years
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‌ස්කොට්ලන්ත පා මාවත් ඔස්සේ ඇවිද ගියෙමි A walk through the Scottish footpaths
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lokuhapuarachchi · 6 years
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ලෝකයේ වැඩිම දෙනෙක් නැරඹූ චායාරූපයේ හිමිකරු ලුෆ්තානා වෙනුවෙන් චායාරූප ගනී.
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සමහර ඇස්තමේන්තු අනුව, බිලියනයකට ආසන්න ජනකායක් වින්ඩෝස් එක්ස් පී හි දර්ශනීය බිත්ති චායාරූපය "බ්ලීස්" දැක ඇති අතර එය ලෝකයේ වැඩිම දෙනෙක් නැරඹූ චායාරූපය වේ. එම චායාරූපය ගත් ශිල්පියා චාල්ස් ඕරර් එයින් වසර 21 කට පසුව, "ඊලග පරම්පරාවේ පරිගනක තිර රූපය" නිෂ්පාදනය කිරීමට අදහස් කරයි. "මම දැන් හැත්තෑ හයක් වයසයි ඒත් මයික්රොසොෆ්ට් බ්ලීස් ඡායාරූප මගේ ජීවිතයට කොතරම් වැදගත්දැයි පේනවද"යි ඔහු පවසයි. "ඉතිහාසයේ වැඩිම දෙනෙක් නරඹන ලද ඡායාරූපයේ ඡායාරූප ශිල්පියා වශයෙන්, මම ඒ කීර්තිය සෑම විනාඩිකම බුක්තිවින්ද.
" ඇමෙරිකාවේ නිව් ඇන්ග්ස් නමින් මෙම ව්‍යාපෘතිය ස්මාර්ට්ෆෝන් භාවිතා කරන්නන් වෙත යොමු වේ. "ස්මාර්ට් ෆෝන් සඳහා Lufthansa සඳහා" Bliss "ඡායාරූපයෙහි තවත් නිර්මාණයක් කිරීමට මා සතුටු වන අතර මිලියන ගණනක් ජනයා විසින් අනෙකුත් සුන්දර ස්ථාන පිළිබඳ මගේ ආකල්ප තවදුරටත් භුක්ති විඳිනු ඇත.
විශේෂයෙන්ම, ජංගම දුරකථනය ලෝකය එසැනයෙන් දැකීමට හොදම මාධ්‍යයයි, ඒ තුලින් අලුත් සහ සිත් ගන්නා ඡායාරූප ඉදිරිපත් කරන්න ලැබීම ගැන මම සතුටු වෙනව " 1996 දී O'Rear කැලිෆෝනියාවේ සොනෝමා ප්‍රාන්තයේ ඔහුගේ ප්‍රසිද්ධ චායරූප ගත කිරීම සිදු කලේ මධ්‍යම පංතියේ කැමරාවකින් ඔහුගේ පෙම්වතිය දැක ගැනීමට යන අතරතුරදීය. පළමුවෙන්ම, එම චායාරූපය ඇමරිකාවේ ප්‍රචාරණ හා බලපත්රලාභී සමාගමක් වන Corbis වෙත යවන ලද අතර ඉන් පසුව Microsoft විසින් වින්ඩෝස් එක්ස්පී ආරම්භ කිරීමට වසරකට පෙර 2000 දී සිය අයිතීන් මිලදී ගත්හ.
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- අනුරුද්ධ
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lokuhapuarachchi · 6 years
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I fuck my life
ජෝන් ඩෙනොන්, අවුරුදු 74ක් වයසයි. මට ඔහු හමු වුනේ අද උදේ නගරයෙ බාර් එක ගාවදි. ඔහු සිටගෙන සිටි ඉරියව්ව සහ ඒ මොහොතේ ආලෝකය ඔහු වෙත මගේ අවධාණය යොමු වුනා. මට ඉබේම කියැවුනා "ෂහ්". මගේ කැමරාව අතේ තිබුනෙ නැහැ.
මම ෆෝන් එකේ කැමරාව තෝරගෙන ඔහු වෙත ගියා. සුබ උදෑසනකට ඔහුට සුබ පැතූ මා, ඔහුගේ විලාසය සහ සහ එම ස්ථානයේ ආලෝකය මගේ සිත් ගත් බවත්, ඔහු කැමතිනම් මම ඔහුගේ චායාරූපයක් ගැනීමට කැමති බවත් කීවෙමි. ඔහු එක එල්ලේම එපා කියා ප්‍රතික්ශේප කලේය. බාධා කිරීම ගැන ඔහුට කණගාටුව ප්‍රකාශ කල මා මගේ ගමන යාමට පිටත් විය. එහෙත් ක්ෂණිකව මාව නැවත්වූ ඔහු "මම දෙසැම්බර් වෙනකම් විතරයි ජීවත් වෙන්නෙ" යැයි කීවේය. ඔබ එසේ කියන්නේ ඇයිදැයි ? මම ඔහුගෙන් ඇසීය. මගේ කිඩ්නිය නරක් වෙලා " I fuck my life".
John Dennon, 74 years old. I met him this morning at the city bar. My focus was on his posture and the light from that moment. I was just told my self "Shah". My camera was not in my hand.
I picked up the camera on the phone and went to him. I said good morning to him and I was interested in his style and the light of that place, and if he liked, I would have liked to take a picture of him. He refused to do it absolutely. I saddened him with annoyance, and I left for my journey. He immediately stopped me and said, "I will only live until December." Why do you say that? I asked him. My Kidney has spoiled, " I fuck my life".
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lokuhapuarachchi · 7 years
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lokuhapuarachchi · 7 years
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මාධ්‍ය චායාරූප කලාව වෙනුවෙන් රොයිටර් වෙතින් නව ප්‍රතිපාදන
රොයිටර් ප්‍රවෘති සේවය නව ඡායාරූප ශිල්පීන්ගේ දක්ෂතාවයන් සොයා ගැනීම සහ සංවර්ධනය කිරීම අරමුණු කරගත් ප්‍රවීණ නිර්මාණ ශිල්පීන් අටක් සඳහා විශේෂඥ පුහුණුවක් සඳහා ඩොලර් දසදහසක් බැගින් වූ මුල්‍ය ප්‍රතිපාදන පිරිනමයි.
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A Syrian refugee kisses his daughter as he walks through a rainstorm towards Greece's border with Macedonia, near the Greek village of Idomeni, September 10, 2015. Reuters and The New York Times shared the Pulitzer Prize for breaking news photography for images of the migrant crisis in Europe and the Middle East. Image © REUTERS/Yannis Behrakis
ප්‍රවෘත්ති පදනම් කරගත් ඡායාරූප පැවරීම් මත තම හැකියාවන් වර්ධනය කර ගැනීමට කැමති ඡායාරූප ශිල්පීන් හා සිසුන් හට සැප්තැම්බර් 10 සිට දෙසැම්බර් 10 දක්වා අයදුම් කළ හැකිය. එහිදී ඡායාරූප ශිල්පීන් තමා ඉදිරපත් කරන ව්‍යාපෘති ඉදිරිප් කලයුතු අතර ව්‍යාපෘතිය සඳහා වන සැලසුම් යෝජනා කළ යුතුය. ප්‍රදාන ලාභීන් විසින් ගන්නා ලද ඡායාරූප මගින් රොයිටර්ස් චායාරූප ජාත්‍යන්තර සංනිවේදන ජාලය හරහා ලෝකය පුරා ජාත්‍යන්තර ප්රේක්ෂකයන්ට බෙදා දෙනු ලැබේ. 1851 දී ලන්ඩන්හිදී ජුලියස් රොයිටර් විසින් ඇරඹූ ලොව විශාලතම බහුමාධ්‍ය මධ්‍යස්ථානවලින් එකක් වන රොයිටර්, පසුගිය දිනවල ප්‍රංශයේ පෙරිපිනන් හි විසා පුඅර් අයි ඉමේජ් ජාත්‍යන්තර ජාත්‍යන්තර උත්සවය එළිදැක්වීමත් සමඟ විවිධ පසුබිම්වලින් නිර්මාණශීලී ඡායාරූප ශිල්පීන් ආකර්ෂණය කර ගැනීමට අපේක්ෂා කරයි. ජයග්‍රහකයන්ට විශේෂඥ උපදෙස් සහ මාර්ගෝපදේශ රොයිටර් ප්‍රවෘත්ති චායාරූප ශිල්පී යානිස් බෙර්රැක්ස් විසින් ලබා දෙනු ඇත.  යුරෝපීය සරණාගත අර්බුදය පිළිබඳ ප්‍රවෘත්ති චායරූප ආවරණය සඳහා  පුලිට්සර් ත්‍යාගය 2016 දී  බෙර්රැක්ස් වෙත හිමි විය. ඔහුට ඒ සඳහා ගේබ්‍රියල් ෆොනෙස්කා සහ මැරිකා කොචිආෂ්වලි සහය වන අතර ඔවන් විසින් අපේක්ෂකයන්ගේ චායාරූප විමර්ෂණය කර සමාලෝචණ ඉදිරිපත් කරනු ඇත. ඒගන අදහස දක්වන රොයිටර් ගෝලීය ප්‍රධාන චයාරූප සංස්කාරක ජෝන් පුුල්මාන් "රොයිටර් සියළුම පසුබිම්වලින් විවිධ අපේක්ෂකයන් බඳවා ගැනීමට උනන්දු වන අතර, නව දෘෂ්ටිකෝණයන්ගෙන් මිනිසුන්ගේ කථාවන් ඉදිරිත් කිරීමට හැකි නැවුම් දක්ෂතා සමඟ කටයුතු කිරීමට ලැබීම ගැන අපි සතුටට පත්වෙනවා. ඉදිරිපත් කරන ලද අයදුම්පත් සමාලෝචනය කිරීමට අපි බලාපොරොත්තු වෙමු." මෙයට අයදුම් කිරීම සඳහා අයදුම් කරුවන් 35-50 අතර වූ තමාගේ හැකියාවන් පිළිවිඹුවන චායාරූප එකතුවක් සහ තමාගේ පුද්ගලික සුදුසුකම් සටහනක් සමග ව්‍යාපෘති යෝජනා සැලසුම් 2017 දෙසැම්බර් 10 ට පෙර මේ විද්‍යුත් තැපැල් ලිපිනයට යැවිය යුතුය. [email protected]
මූලාශ්‍ර : https://www.reuters.com/article/rpb-grants/reuters-launches-grant-program-to-develop-the-next-generation-of-photojournalists-idUSKCN1BF0YJ
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lokuhapuarachchi · 7 years
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නිකෝන සහ කැනොන
දිනෙක නිකොන සහ කැනොන හදිසියකට මහත්වරුන්ගේ වැසිකිළියට ඇතුලු වුනා. ඉතා පහසුවෙන් තමන්ගේ වැඩේ කරගත් කැනොන කලිසමේ සිප් එක දමාගෙන වැසිකිළියේ දොර වෙත ගියා.
ඔහු දෙස ඔලුව හරවා බැලූ නිකෝන " ඇයි ඔබ අත් සෝදන්නේ නැත්ද මුත්‍රා කලාට පස්සෙ ? මම නම් හෝදනව" යි කැනොනට කියනව.
"මට තේරෙනව ඔබ කියන දේ, ඒත් මම කැනොනෙක්, අපි මුත්‍රා කරද්දි අතේ ගාගන්නෙ නෑ." කැනොන කිව්ව.
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