After screening the entries in the 71st International Photographic Salon (sponsored by Asahi Shimbun and the All-Japan Association of Photographic Societies with support from Canon Inc. and Canon Marketing Japan Inc.), the Screening Committee has selected a total of 130 works, comprised of 80 from overseas and 50 from within Japan, including six special prize winners (three from overseas and three from Japan). There were 4,954 entries from 40 countries, with the greatest number from India (1,371 entries). Together with the 3,676 entries from within Japan, a total of 8,630 entries were received. The works were judged by a 12-member panel led by photographer Takeyoshi Tanuma.
Winning entrants were led by India in the overseas division with 13 works, followed by Vietnam with 9, Iran with 8, Hungary with 5, Bangladesh and Myanmar (Burma) with 4 each, and South Korea with 3.
In Japan, Saitama, Aichi, and Osaka had the highest number of winning entrants with 6 each, followed by Hyogo and Fukuoka with 4 each.
General Review and Reviews of Individual Works: Takeyoshi Tanuma, Screening Committee Chairman
Now in its 71st year, the International Photographic Salon covers artistic photographs but also allows for some composition and processing. This is why the works entered employ creativity, structure, and ideas. Every year the screening committee members look forward to discovering what kind of works they will encounter.
Among the works entered from Japan, there are more digital photographs than in previous years, and more appear to have been altered. They represented a higher level of caliber, and those that made the final selection made it difficult for us to choose the winners. The ones given the accolades were works with fresh ideas and a clearly defined sense of expression that could truly move and inspire the viewer.
The overseas artists, especially those from Europe, were clearly accustomed to salon photography, with freedom in their inventiveness, a wealth of humor and fancy, and overall high standards. A distinct flavor was apparent for each country, with the Iranian entrants' realistic photographs and feet-on-the-ground perspective making an impression. In addition, the Lithuanian and Hungarian entrants carried on prewar photographic traditions, facing their subjects head-on. In contrast, there were some old-fashioned photographs that followed the styles of earlier works. From Asia, many entrants came from the rapidly developing economies of India, Vietnam, Bangladesh, and Iran, and we sensed vitality in their works.
We hope to see entries next year that take on unbridled photographic beauty.
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