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HOME / SUBMISSION INFO
Cost of submission
The cost of submitting to Stories is $45USD per series (6 – 10 images)
Submissions open on March 21st, 2022 and close on May 23rd, 2022 at 11.59pm AEST
Stories has two categories:
1) Australian Category – Open to anybody residing in Australia for Australians living overseas
2) International Category – Open to anybody residing outside of Australia without an Australian citizenship
We are searching for visual narrative ranging from traditional to new and experimental approaches to storytelling.
There is no time stipulation on when the work has been produced.
The use of archival and found imagery is also accepted provided that the entrant is not in breach of any copyright. Where applicable, we may ask for proof of permissions to ensure that appropriate ethical considerations have been met.
Previously entered into Stories
We can accept Stories which have been in part submitted previously, although we require the overall work to be substantially different enough photographically and/or conceptually to warrant re-entry
Previously entered into other competitions
Imagery which has previously been entered into other competitions including Australian Photography Awards are welcome to be submitted
Who can enter
Entries are open to anybody provided they meet the category guidelines as stated above
Location of imagery
Photos can be taken anywhere in the world regardless of category
Supply of files
For best results images should be saved as a high resolution JPEG at 3000px in size. Do not watermark or put any identifying branding on the images as this will result in disqualification
We don’t require your files to be named a certain way. When you submit an entry, our system generates an associated file name. Photographer information and descriptive text will be added along with the image in the entry process
Number of images per submission
Each submitted series should contain 6 – 10 images
Captions and statement
Each submission will need to be titled and a statement provided. Series descriptions are capped at 1000 characters
If you have feedback, either positive or negative we love to hear from you. Please reach us at [email protected]
We encourage comments, debate and engagement through our social media channels but have no tolerance for abusive behaviour. As a policy we don’t delete posts and endeavour to address any concerns publicly. However we do not tolerate abusive language or behaviour that compromises the work of the individuals we feature.
For further information please view our Terms and Conditions.
As always our main priority is to support photographers. Photographers will retain all and unconditional copyright to their imagery. We will only use the photographer’s imagery to promote Australian Photography Awards, Stories, Australian Photobook Awards or Photo Collective and to celebrate and feature the photographer’s work. Imagery is always credited and for features we will work with the photographers for selection. If a photographer doesn’t want us to use imagery we will happily comply.
Harriet Tarbuck and Tom Goldner – Creative Directors
Harriet is a photographer specialising in portraiture and documentary. Living and working across Australia, the UK and Asia, has created her passion for travel and connecting with people. She focuses on capturing daily life which has an emphasis on the celebration of women. Across her work, she hopes to show our unique stories and the genuine threads that connect us.
Tom is an artist, curator and teacher of photography who has had a career spanning commercial, documentary, gallery curation and management. His current practice is focused on long-form photographic and multimedia arts projects with an emphasis on creating conversations around environmental issues.
Harriet and Tom continue work together to bring all-accessible photographic and arts practices to the public in the way of community spaces, education and award recognition.
Anne Moffat (b. 1991) is a photographer working across an array of editorial, commercial and personal projects currently based in Melbourne, Australia on unceded Wurundjeri land. Anne draws on familial ties to Malaysia, China, and New Zealand, as well as family migration to Australia, to inform her social documentation and portraiture.
Anne’s work has recently been awarded Jury’s Choice in the Prix Virginia (2021), as well as shortlisted in the British Journal of Photography’s Portrait of Humanity (2020), the Singapore International Photography Festival Portfolio Open Call (2020), and the William and Winifred Bowness Photography Prize (2019).
Anne’s most recent project, Forget Me Not 勿忘我 is currently exhibiting at the Centre for Contemporary Photography in Melbourne until 27 June 2021. Her images have been shown around Australia, internationally, and even in space (as part of a world first major exhibition over 111,000 feet into the stratosphere).
Anne complements her practice with a Bachelor of Science and Diploma of Languages from The University of Melbourne, and is a member of Women Photograph, Diversify Photo and Authority Collective.
Stephen Dupont is an Australian artist who works with photography, video and print. Working in the field of documentary, he enjoys certain magazine assignments, but is mostly committed to long term personal projects. He moves within the editorial, art and film worlds. Born in Sydney in 1967, he grew up in the western suburbs and Southern Highlands under tough social conditions and displacement, with social worker parents, who were full-time carers of state wards.
Stephen is recognised around the world for his concerned photography on the human condition, war and climate, earning him dozens of prizes including the 2007 W. Eugene Smith Grant for Humanistic Photography for his work in Afghanistan, the 2010 Robert Gardner Fellowship from Harvard University, a Robert Capa Gold Medal Citation, the Olivier Rebbot Award and several World Press Photo Awards. He holds a Masters degree in Philosophy, enjoys teaching workshops and giving public talks around photography, film and his life. Dozens of books and catalogues on Stephen’s photography and diaries have been published, (Steidl, NYPL, Radius, PowerHouse, Yale & Aperture).
Stephen likes to explore new and innovative ways through photography, often collaborating with other artists, writers and creatives through books, exhibitions, film and theatre,(Gerhard Steidl, Jacques Menasche, David Field, Tim Page)
Angus Scott (b.1991) is a lens-based artist and visual editor living and working on Wurundjeri Country in Melbourne, Australia.
Working with both still and moving image, Angus’ creative practice is anchored in land and culture; the overlapping influences of where we live and who we are. Informed by familial narratives, national myths and connection to landscape, his work oscillates between poetic and observational forms of documentary storytelling.
In 2021, Angus was the recipient of the inaugural OD Prize and was then exhibited in London as part of the winter program by Open Doors Gallery. In the same year, he exhibited his large format, two-channel video installation, Do Brumbies Dream in Red? in Narrm/Melbourne. Angus’ debut monograph, Teetering like a September myth was released in 2022.
As an editor for Photo Collective, Angus spends his days immersed in Australian photography with a strong focus on visual narrative. He collaboratively assists in the production of written content and short films along with the compilation of publications such as Photo Collective Magazine.
Akosua Viktoria Adu-Sanyah
Akosua (pronounced ‘A-koss-ya) Viktoria Adu-Sanyah is an internationally exhibited and published German-Ghanaian visual artist and documentary photographer based in Zürich, Switzerland. Her work is frequently awarded for exploring new territories through
image-making, research, and human connection. She believes in the diversity of thought and expression, which results in various practices that inform each other: she equally engages in documentary work and conceptual arts. Published in Bloomberg, npr, DerBund, and others.
Paul McDonald is a socially engaged artist, educator and curator whose personal practice explores masculinity and mental health. His photographic work has been published both nationally and internationally.
He was recently commissioned by ‘The Dax Centre’ Melbourne and BridgingHope Charity to produce and exhibit his first major solo exhibition ‘resonance’ in response to the Cunningham Dax Collection. Paul gained experience as a senior manager in the private sector from 2000-2008. From 2008-2012 he held senior management positions, Associate Director at Australian Centre for Photography. From 2012-2014 he was gallery Director at 10×8 gallery, Sydney. In 2014 he founded Contact Sheet, St Leonard’s NSW, where he is currently self-employed as Director.
Paul completed his MA in Photojournalism and Documentary Photography at University of the Arts London in December 2016 with Distinction. He currently is a lecturer at Macleay College teaching Photojournalism, News Photography and MOJO(Mobile Journalism).
As Director of Contact Sheet Paul curated and presented over 50 exhibitions, a series of free public programs attracting an audience of over 7,500 visitors and provided a structured mentoring program to over 60 clients, workshops for over 180 clients and hosted over 15 internships in partnership with local colleges and Universities. Since 2009 Paul has developed and presented a number of participatory programs discussing social issues and engaging with local communities and diverse groups.
Once entries close, our in-house committee will consider all Stories through a scoring system. During scoring the panel is free to discuss anything that may aid in judging the Stories. For example this may include explaining an uncommon technique used or identifying subject matter. The highest scoring 20 submissions from the Australian Category and 20 submissions from the International Category will then be shortlisted for the next round of judging. In the event of multiple Stories being tied, the panel may re-score the submissions in the tie, and discuss the merits of each body of work to come to a final decision. Once they have selected the top 20 submissions across both categories they will manually review all entries to ensure nothing was overlooked. If they feel there are more than 20 submissions in either category which are serious contenders they will bring them in for the next round. All 40 shortlisted entrants will then be contacted by email and a public announcement will be made via email, social channels and through our website.
Following initial judging, the Australian Category committee members will discuss and review each of the 20 finalist Stories. The committee will have the opportunity to preview all submissions before judging commences. Each entry is then scored and deliberated over to determine the final outcome. In the event of multiple entries being tied, the judging committee will discuss the merits of each of the entries to come to a final decision. All 20 finalists in the Australian Category will be included in the Stories Publication and Event.
The International Category committee members will also discuss and review each of the 20 shortlisted Stories, before selecting 10 finalists to be included in the 2022 Stories Publication and Event. The committee will have the opportunity to preview all submissions before judging commences. Each entry is then scored and deliberated over to determine the final outcome. In the event of multiple entries being tied, the judging committee will discuss the merits of each of the entries to come to a final decision. We believe this discussion and deliberation allows the judging committee to work together to deliver the best possible outcome for the entrants.
The three winning Stories (2x Australian, 1x International) will be announced at the Stories 2022 Event and through our social media platforms, email database and website. The 20 Australian Category and 10 International Category finalists will also be published in the Stories 2022 Annual and will continue to be profiled, shared and featured through our channels throughout the year.
Other judging considerations
Administrators and employees of Photo Collective are not allowed to enter Stories. Neither is the judging committee for Stories allowed to enter. We are committed to ensuring that all entrants are treated equally regardless of their background or notoriety. We ensure our committee is held to the highest standard of ethics and every submission is treated with the same amount of time and respect. When discussing the finalists, if committee members know the image or creator, they will acknowledge this briefly before presenting their ideas and thoughts so that this can be taking into consideration.