DCC Internal Competition General and AI Rules
- Amended September 2026.
The following rules
apply to all competitions:
The club adheres to The
Royal Photographic Society (RPS) charter’s
definition of what Photography is:
“'Photography' shall mean the Art or Science
of the recording of light or other radiation on any medium on which an image is
produced or from which any image may by any means be produced.”
The club is a member of the
Surrey Photographic Association (SPA), enters its competitions and abides by
its rules. The SPA is a member of The
Photographic Alliance of Great Britain (PAGB).
1 Permitted images in Club competitions
All
images must conform to the RPS definition of photography. Images may be
produced by any optical means, including pinhole cameras, and by Cyanotype or
other alternative photography process.
A
submitted image can be a Single Exposure, ICM, Multiple Exposure, Composite or
Montage image.
All
images and all elements within them — including textures, brushes (other than
those supplied as standard with the software), and any other component — must
be the sole, original work of the entrant and their copyright.
For
the avoidance of doubt, the following are NOT permitted any image element not
created by the photographer this includes water/sky replacements, textures,
brushes (other than the basic ones supplied with the software), royalty-free
images, clipart, and the like. Anything produced by AI.
The
Club will trust in the integrity of its members. In certain circumstances,
especially regarding AI or image elements, if a challenge is received the Club
may request further evidence in the form of RAW files or EXIF data, accepting
that such evidence may itself not be definitive.
2 Artificial Intelligence
The
club has to follow the Surrey Photographic Association (SPA AI rules) set out
below as all images submitted in club competitions may be chosen for use by the
Club in SPA competitions
Surrey Photographic Association - AI in Post-Capture Processing
Our policy for images entered into SPA competitions and exhibitions is
exactly aligned with that of the PAGB. This document seeks to reiterate this
and, in addition, provide practical guidance as to what constitutes acceptable
and unacceptable practice in competition image editing.
Today’s software packages offer image
manipulation opportunities not previously dreamt of, and the SPA is not in the
business of directing or curtailing the creative output of individuals in
member clubs. We recognise the autonomy of member clubs in formulating rules
for their own competitions and activities, encouraging experimentation and
innovation. What is incumbent on clubs is to fully understand and conform to
the expectations regarding the editing of images entered into SPA and PAGB
competitions. For this to be effective, clubs will have to ensure that their
members understand the requirements and can certify that any images used are
eligible.
Though extremely effective and freeing for personal work, for SPA
competition use any editing offering flagged as ‘generative
AI’ must be regarded as off limits.
This will almost certainly involve the introduction of elements that, although
designed to blend well with the photographer’s image,
originate from outside that image, generated by AI tools trained on millions of
other people’s images. Such generated elements
include (but are not limited to) canvas extensions,
object/background/distraction replacement, object rotation and generative fill.
It is the responsibility of individual photographers to be aware of which tools
in their editing software make use of generative AI. The guiding principle is
that any element introduced must be the photographic creation of the
photographer. Clubs and individuals can contact the SPA for advice if uncertain
about matters in this rapidly evolving area.
We have a well-established trust in the integrity of everyone in the
SPA, but in pursuit of these authenticity goals the SPA reserves the right to
ask clubs for the original files of any images entered in their competitions
and exhibitions. Entry forms will require clubs/individuals to certify that
their images conform to expectations.
SPA Committee June 2026
FAQ
·
Does
adding a border or ‘key line’ constitute unacceptable practice since this is
not a photographically generated element?
You’re
right that this is not part of one of your original images but everyone agrees
that this is acceptable as part of the presentation of an image (like the mount
of a print). The same applies to the introduction of non-AI, software generated
fill, such as the introduction of a black background, which has always been
regarded as acceptable practice, long before the emergence of generative AI.
·
What
about adding a computer-generated graphic element (e.g. a yellow disc to
represent the sun)? What if I print it out, photograph the output, then add
this image (that I have produced)?
Direct introduction
of a computer-generated graphic is not in line with our guidance, but it is
perfectly acceptable, for instance, to paint a textured background, photograph
it, then blend with your image.
·
Isn’t
it OK to use a generative removal tool to get rid of just a very small
spot/element?
Not permissible: you
should be able to remove a small spot using non-generative remove tools.
·
What’s
the policy regarding the removal of larger, unwanted elements or distractions
within an image?
There are a variety
of non-AI powered tools within most editing suites (e.g. the Adobe tools “spot removal”, “Heal”, “Clone Stamp” and “Patch”
etc.), that may be used without fear of infringing this guidance. As a general
rule, if a particular editing tool offers an option to use Generative AI by
ticking a box, then don’t tick the
box!
·
What
about ‘phone capture?
We’re
aware that a lot of behind-the-scenes processing can go on in the background
behind a ‘single’
output. It is unreasonable (and usually impossible!) to expect the
photographer to understand what their ‘phone is
doing e.g. multiple exposure blending, segmented processing. However, the
photographer must still avoid introducing generated elements or details that do
not appear in the original scene.
·
Is
noise reduction permitted?
Most noise reduction
algorithms are basically improved interpreters of your RAW file so perfectly
acceptable. However, packages that introduce detail/focus that are not present
in the original breach guidelines: ensure that you understand what a particular
tool is doing. “If you think you have
gone too far, you probably have!”
·
I have
a rather small image file. Can I use upscaling options to produce something
better for printing?
Editing packages
commonly offer different upscaling options. Some generate detail not present in
the original image and therefore must be avoided. Again, it’s
the individual photographer’s
responsibility to make sure that their particular action does not employ
generative AI.
·
Can
I add text into my photo? (e.g. Photoshop textbox)
3 Retouching and digital manipulation by others is not allowed
All
Prints and Projected Digital Images (PDIs) must be the sole work of the entrant
thus all editing and any digital manipulation must be the sole work of the
entrant. The photographer may seek advice and critique from others but must do
any image editing themselves.
Images
that are sent to a third party to be printed must not be manipulated by the
third party in any way to optimise or adjust the image for printing.
4 Subject matter
Unless
the competition specifies a set subject, the subject matter is “open”
and therefore the entrant’s own
choice of subject matter.
5 All images must be NEW original work
5a Individual images may only be used once.
An
image may be entered in EITHER ‘Print’, or ‘PDI’
format. Once an image has been used in an internal competition, its
format is locked-in and cannot be changed (e.g. from PDI to Print). You cannot
use any images from previous internal competitions including those from
previous years.
5b Entry of similar images
An
image which is sufficiently similar to another previously entered by the same
photographer may be ruled ineligible as being effectively the same image.
Monochrome
and colour versions from one original are likely to be considered the same
image, unless the artistic treatment is significantly different.
Similarity
may also arise where elements are repeated in different composite images.
Photographers should be aware of the similarity issue, even if two entries have
been given different titles.
• Members are encouraged to avoid, but are not
banned, from entering additional images from “a
set” in the same or subsequent competitions.
o Critique nights offer an opportunity for such
images to receive feedback from a judge.
• Members are encouraged to seek the early
opinion of the Competition Secretary on whether an image could be deemed ‘sufficiently similar’ to
another that has been previously used in a club competition. The Competition
Secretary will keep in mind the member’s reasons
for entering a similar image (e.g. an attempt to improve technical skills, or
to develop a panel). Three members of the Committee (Including the Competition
Secretary) will decide if an image is eligible. Members may appeal the decision
to the Chairman.
• If there is not sufficient time to enter a
replacement image, then a third entry to a later competition will be permitted.
• If the withdrawn image was entered into the
final round of a league competition, the average score of the member’s other five entries will replace the lost score.
• NOTE - The responsibility should lie with the member to seek approval from
the Competition Secretary for a potentially similar image at least seven days
before the competition deadline. Members
who have doubts before they enter, are encouraged to use an online “image similarity checker” that compares the similarity
between two or more pictures. These can be found by using Google. The chair and
reviewers may also use an online “image
similarity checker”
6 Projected Digital Images (PDI)
All
PDI images are projected and viewed on a black background. It is up to the
entrant whether they use a keyline around their images or not to separate their
image from the background – see the competition section for more information.
7 Printed Images
May
be mounted or unmounted – see the competition section for more information.
8 Damage to printed images
The
Club will take reasonable care handling members’
work but will not be responsible for any damage or loss however caused.
9 Classes
The
club has three classes or skill levels. Most competitions are judged by class –
see separate competition descriptions.
• CLUB CLASS – is a foundational entry class for
learners and newcomer photographers.
• ADVANCED CLASS – is the improver class for
intermediate photographers.
• PREMIER CLASS – is the class for the most
experienced photographers.
Members
are placed into a class at the discretion of the Committee. Experienced new
members may be asked to show a body of photographic work.
• Mentoring is provided for Club class members if
requested.
• Critique Group membership is encouraged for
members.
10 Club competitions and critique nights
These
are open to all members, judged by class and listed below. Each is described in
detail in the individual tabs that follow.
• Tate Print League.
• Moller PDI League.
• Special Print Panel.
• Special PDI.
• Photo on a Phone.
• David Multon Competition.
• Annual PDI - 2 from 4.
• Annual Print - One monochrome, one colour.
• Three Critique Nights.
11 Issues arising over the conduct of internal Club competitions
Any
issue arising over the conduct of internal Club competitions, or the
appropriateness of an image entered therein should be raised at the time with
the Chairman or Competition Secretary.
12 Definitions of nature, monochrome and open images
12a Nature Images
The club has to follow the Surrey Photographic Association (SPA Nature
rules) set out below as all images submitted in club competitions may be chosen
for use by the Club in SPA competitions
Definition for Nature
“”Nature photography is restricted to the use of the photographic
process to depict all branches of natural history, except anthropology and
archaeology, in such a fashion that a well-informed person will be able to
identify the subject material and certify its honest presentation.
The story telling value of a photograph must be weighed more than the
pictorial quality while maintaining a high technical standard.
Scientific bands, scientific tags or radio collars on wild animals are
permissible. Photographs of human created hybrid plants, cultivated plants,
feral animals, domestic animals, or mounted specimens are ineligible, as is any
form of manipulation that alters the truth of the photographic statement.
Processing of the captured image, by cropping, exposure adjustment,
colour correction, noise minimisation, dodging/burning, HDR, focus stacking and
sharpening, is allowed.
Cloning of image defects and minor distractions are permitted when these
do not distort the truth of the photographic statement.
Images entered as Nature can have landscape, geologic formations,
weather phenomena, and extant organisms as the primary subject matter. This
includes images taken with the subjects in controlled conditions, such as zoos,
game reserves, wildlife centres, wild flora in botanical gardens, aquariums and
any enclosure where the subjects are totally dependent on man for food.
‘The Welfare
of the subject is more important than the photograph’.
Where access to biological subjects is restricted, photographers warrant that
they have followed relevant codes of practice and hold any necessary
licences.””
PLEASE NOTE: Titles
must be factual
and the subject identified.
What
IS acceptable:
• Techniques that remove elements added by the
camera, such as dust spots or digital noise.
• Techniques that enhance the presentation of the
photograph without altering the content of the original scene, including HDR,
focus stacking and dodging/burning.
• Colour images converted to greyscale
monochrome.
• Natural history subjects including wild
animals, birds, insects, marine and botanical (including fungi and algae).
• Scientific bands, scientific tags or radio
collars on wild animals (and if present must not be removed).
• Images of natural history subjects in
controlled conditions, such as zoos, game reserves, wildlife centres, wild
flora in botanical gardens, aquariums and any enclosure where the subjects are
totally dependent on man for food.
• Factual titles identifying the subject are required.
What IS NOT acceptable:
• Any form of manipulation that alters the truth
of the photographic statement.
• Stitched images or montages.
• Infrared images.
• Anthropology or archaeology.
• Human elements except if an integral part of
the nature story (e.g. barn owls adapted to a human environment).
• Images of human created hybrid plants,
cultivated plants, feral or domestic animals, or mounted specimens.
• Inappropriately humorous, twee, informal or
sentimental titles.
12b Monochrome images
The club has to follow the Surrey Photographic Association (Monochrome
used in SPA Competitions ) set out below as all images submitted in club
competitions may be chosen for use by the Club in SPA competitions
“A black and
white work fitting from the very dark grey (black) to the very clear grey
(white) is a monochrome work with the various shades of grey. A black and white
work toned entirely in a single colour will remain a monochrome work able to
stand in the black and white category; such a work can be reproduced in black
and white in the catalogue of a salon under FIAP Patronage. On the other hand a
black and white work modified by a partial toning or by the addition of one
colour becomes a colour work (polychrome) to stand in the colour category; such
a work requires colour reproduction in the catalogue of a salon under FIAP
Patronage”
FAQ
Black-and-white
images toned with a single colour will be classified as monochrome and will be
accepted in the monochrome category for competition purposes.
Other
monochrome images toned entirely in a single colour such as, but not
limited to, the following:
• Cyanotype.
• Selenium.
• Sepia.
• Van Dyke.
• Chrysotype.
• Argytype.
• Platinotype.
• Palladiotype.
In all these examples a
Black & White image is produced and then toned with a single colour.
NOTE
• All the above are Monochrome images using
multiple tones of a single colour.
• A Monochrome work modified by partial toning,
split toning or by the addition of one or more colours becomes colour work.
12c Open Images
In
an Open competition members can enter any image, on any subject, as long as that
image conforms to the Dorking Camera Club Rules. Members may also enter Nature
& Monochrome images in an open competition.
13 Titles
Do
consider carefully the title you use.
• Will the title assist both the audience and
judge to interpret your intent?
• Will the judge understand it? The judge and the
audience lack your intent and/or emotional connection to your image.
• Will it help the judge to judge the picture?
• Will it mislead the judge into trying to judge
something which is not in the image?
• If you want the image to be seen as creative or
pictorial it may help to have a more creative title.
• If you want the image to be considered as
natural history, it should have a brief but accurate descriptive title telling
the viewer what the subject is and possibly any behaviour shown, e.g. Bee
Feeding.
14 Judging
Judging
will be carried out by a judge who is not a member of the Club. He/she will be
selected from a list of approved SPA or similar judges. The exception being the
“Photo on a Phone” competition when
club members who won last year lead the discussion.
15 Trophies and Awards
Members
who win a competition may hold the trophy for one year. Trophy winners will
also receive a certificate and commemorative plaque to keep. Trophies will be
returned to the Competition Secretary near the end of the following season.
Runner-up
and Highly Commended entries will receive a club certificate.