“I was really impressed by the level of work and the variationof submissions,” says juror Sacha Stejko. “There was a wide array of different subject matters, and it was great to see the photographer’s individual voice coming through in the images.”

“I observed how different photographers were exploring the boundless possibilities within the realm of photography,” juror Kenji Aoki says.

“There were many surprising and creative images and concepts that were expertly and often sensitively executed,” says juror Christine Dewairy.

“Some real interesting shots stood out by telling a complete story or playing with the norms of portraiture,” juror Phil Copithorne says. “Some nice editorial [entries] proved that it’s always about being in the right place at the right time.”

“The quality and production values across the entries were really high,” says juror Miles English.

“Overall, I felt that most photos were very professional, very well lit and sharp—but also very thought out,” juror Sybren Kuiper says.

I asked the jurors what they found most surprising about this year’s entries. 

“I was pleasantly surprised to see many artists using new tools like AI modeling within their photographic work,” says juror Jennifer Greenburg. “In order to keep our discipline moving forward, we need to find ways to successfully use everything possible. The panic and fear regarding AI within photography has become a little tiresome, and I am glad to see the ways those who submitted used it to complement their photographic vision.”

“I was surprised that there were not more socially concerned entries,” juror Ursula Damm says.

“It was both inspiring and refreshing to see such wonderful use of natural light, compared to images being overlit or flashed to hell,” says juror Joe Karably. “While the latter has its place and importance, I have always loved photography that’s intimate in approach but grand in scope, and that’s what I saw a lot of in this year’s work.”

In the interest of balanced insight, I also asked the jurors to describe their biggest disappointments with this year’s entries.

“Some of the fashion could have been more directional and interesting, and styling could have been better in this category,” English says.

“As a viewer, I find it difficult to connect with photographs that have been heavily manipulated in post-production, where elements have been created and not photographed,” says Stejko. “I love photography for the insight it provides and the emotional impact it can have on someone. When an image's elements have been too overly produced and don’t necessarily add to the narrative of the piece, I struggle to feel that emotional connection and feel a bit deceived in trying to guess what is real and what isn’t.”

“I felt there was not very much adventure, experimentation or risk taking,” Kuiper says. “Maybe that’s only logical as a lot of photos were assigned—or so I thought. Of course, I say this with the utmost respect for the photographers.”

“I sense that many works were confined within existing frameworks, lacking in innovation,” says Aoki. “Embracing novelty entails venturing beyond these constraints, pushing boundaries further.”

“It is apparent that imagemakers really need to push concept and execution now more than ever,” Copithorne says. “It is relatively easy to make a great-looking image, but traditional approaches to portraiture or landscapes or food, for example, are just not enough anymore.”

Lastly, I asked the judges where they think the field of photography is going.

“The notion that ‘photos represent absolute truth’ is on the brink of dissolution, paving the way for a world where the distinction between reality and fantasy becomes increasingly ambiguous,” says Aoki, “like a painter effortlessly sketching on a blank canvas, liberating creativity from the confines of strict realism.”

“It continues to move away from the traditions behind image-making,” Copithorne says. “Technology has made imagemaking high quality and immediate. Photography will have to rely on more than execution to stand out.”

“Obviously AI will allow retouching to reach new standards and also to replace photography altogether in some cases,” says English. “The question will be: Is it photography anymore? There’s usually a reaction to new technology, so maybe [we will see] a return to analog cameras and darkroom prints.”

“I think the field of photography is finding its groove in the digital realm and, in a sense, going back to its roots,” Dewairy says. “The effects and creative work that were once done in a lab are now being done in post, but the composition, concepts and perspectives are still rooted in the camera or the lens, using color, light and framing.”

“Shooting with film has seen a resurgence in popularity due to its imperfections and the honesty of the images it produces,” says Stejko. “I think there will be a shift in how much post- production is used, as people may start rejecting images that appear too perfect or overly manipulated by AI. In today’s world where unrealistic beauty standards have been criticized and questioned, we can already start to see a move toward more authentic, unfiltered images in e-commerce and brand advertisements. Photography is a powerful tool for communicating humanity and connecting with others, free from the constraints of filters and artificial intelligence.”

“Photography is an art form and a profession that needs to be recognized and treated as such by the various industries that ‘utilize’ and need it,” Damm says. “I believe photography in its true form will remain relevant.”

“It’s easier than ever to create an image that is, on the surface, acceptable,” says Karably. “I think in a way this has truly made the process return to its roots: good ideas, good composition, good lighting. Those fundamentals are the core of every great image. They will continue to be what separates art from the noise.”

A minimum of six out of nine votes was required for a project to be awarded in this year’s competition. Judges were not permitted to vote on projects with which they were directly involved; I voted in their stead. I would like to extend our grateful appreciation to our jurors for their conscientious efforts in selecting our 65th Photography Annual. — Patrick Coyne ca