Reflections on Being a Finalist in the 2025 International Pet Photography Awards - Open Category
This year marked a milestone I hadn’t anticipated. In 2025, I entered the International Pet Photography Awards for the first time, submitting my work in the open category – the section dedicated to non-traditional pets excluding the usual dogs, cats, and horses. When I received the notification that I was a finalist, my initial reaction was one of disbelief, quickly replaced by an overwhelming sense of excitement. To be recognised on an international stage, among thousands of entries from across the globe, was humbling. As far as I am aware I was the only Australian finalist in the open category and that fact alone added a layer of pride to the achievement.
The open category is, by design, a space for creativity and individuality to showcase subjects that are often overlooked in the broader pet photography world. It challenges photographers to look beyond the traditional narratives and explore unique expressions of character and story. With over 4,100 entries this year, the competition was fierce, and the level of work submitted was exceptional. To even be shortlisted was both a validation and an invitation to critically examine my own approach to photography.
When the finalist announcement came through, I spent a moment simply absorbing what it meant. I hadn’t entered with any expectation of recognition; my decision to participate was driven by curiosity and a desire to measure my work against an international benchmark. The notification was both a surprise and a thrill. For me, it was a reminder that sometimes the act of putting your work out there, even in spaces that feel daunting, can yield unexpected opportunities.
While I did not win the open category, I left the experience with no sense of disappointment. The category winner, Ellen, produced images that were extraordinary. One of her photographs even ranked among the top 100 photos overall, which speaks to the quality and impact of her work. Her success reminded me that winning is not the only measure of value; recognition by peers and the industry, coupled with constructive feedback, is equally powerful.
The judges’ feedback, in particular, has been instrumental. They provided incredibly precise critiques, highlighting everything from subtle technical adjustments, such as eye focus being off by mere millimetres, to almost imperceptible issues in composition or background selection. Their attention to detail reinforced the notion that at the highest levels, excellence lies in nuance. It is often the smallest refinements that distinguish a photograph that simply captures a moment from one that commands attention.
Reading through the critiques, I found myself both challenged and motivated. The comments about background selection and post-processing were particularly illuminating. The judges encouraged me to consider not only the subject but the environment and context in which that subject exists. Even minor distractions in the frame or inconsistencies in editing can affect the perception of a photograph, and their feedback has given me a clearer understanding of what it takes to achieve top scoring images.
I’m already in planning mode for the 2026 competition. The feedback has sparked ideas for new projects and ways to elevate my work. I am particularly focused on how to use the Australian landscape as an integral element in my photography, embracing our unique terrain in ways that communicate both story and place. The open category allows for this level of creativity, and I intend to push the boundaries of how Australian flora and landscapes can be portrayed in high-end pet photography.
Reflecting on the other finalists and category winners, I was struck by the dominance of European and North American entries. Many of the winning photographs featured dogs set against expansive natural backdrops: snow-covered mountains, glacial lakes, and dense forests. The light in these northern hemisphere landscapes is noticeably softer, lending a dreamlike quality to images that is difficult to replicate elsewhere. There is a cinematic quality to photographs taken in those conditions - a combination of geography, light, and composition that elevates the subject into a narrative, rather than a simple portrait.
For me, this observation sparked both admiration and ambition. It reminded me that while the northern landscapes provide a particular type of light and mood, Australia offers its own distinct palette and personality. From the rugged expanses of the outback to the iconic red earth and open skies, there is an authenticity and drama in our landscapes that is equally compelling. My goal for 2026 is to capture that essence, to highlight not only the pets themselves but the way they exist within our extraordinary environment.
Planning for this next phase involves more than just logistics; it is about conceptualisation and intention. I am mapping out trips to remote areas, seeking distinctive Australian landscapes that will complement my subjects. The aim is to create images that are unmistakably Australian - that convey both place and character - while meeting the technical and artistic standards set by the international judging panel. There is a careful balance to be struck between landscape and subject, ensuring that neither overwhelms the other, and that together they tell a compelling story.
Entering the International Pet Photography Awards has been a learning experience beyond the technical. It has reinforced the importance of resilience, patience, and perspective. Recognition on such a stage can be fleeting, but the process - the thoughtful preparation, the critical review, and the reflective analysis has lasting value. It has encouraged me to examine my workflow, refine my technique, and approach my art with renewed focus. It is easy to become comfortable within a familiar framework, but stepping into an international competition demands growth and that challenge has been invigorating.
One aspect of being a finalist that is often overlooked is the sense of community it fosters. Even from afar, viewing the work of other finalists and winners provides an opportunity to learn, adapt, and aspire. There is a humility in acknowledging the skill and vision of others, and it also serves as a mirror for our own practice. For me, seeing the meticulous attention to detail in the top-ranking images, the considered use of light, and the storytelling embedded in each photograph has been instructive. It has encouraged me to think critically about my own imagery, and to consider how subtle adjustments can elevate a photograph from technically competent to truly remarkable.
Another reflection is on the emotional impact of photography. High-end pet photography is not merely about capturing an animal in a visually pleasing way; it is about conveying character, spirit, and presence. In the open category, where subjects are less familiar to audiences, this becomes even more important. The challenge is to communicate personality and connection without relying on familiar tropes. This is where composition, timing, and environmental storytelling converge, and where the subtleties highlighted by the judges make all the difference.
As I look toward next year, I am motivated by the possibilities that lie ahead. The Australian landscape provides an untapped canvas for high-end pet photography. By integrating distinctive terrain, light, and weather conditions with carefully considered subjects, I believe it is possible to create work that stands out internationally. The lessons from this year’s competition (both the successes and the areas for improvement) will inform each decision, from location scouting to technical execution.
Being a finalist in the International Pet Photography Awards has been an honour and a catalyst for growth. It has reinforced my commitment to excellence and reminded me that recognition is not simply the end goal; it is part of a continuous journey of learning, reflection, and ambition. I am grateful for the experience, for the feedback from the judges, and for the inspiration drawn from the incredible work of fellow photographers.
This experience has strengthened my resolve to pursue the next level of my craft. The open category in the International Pet Photography Awards represents a unique opportunity to challenge conventions, explore creativity, and engage with an international community of artists. I am already planning for 2026, and I am determined to enter once again, this time with an Australian lens (literally and figuratively) that showcases our distinct landscapes alongside the pets that inhabit them.
The journey from submitting my first entry to standing among the finalists has been enlightening and rewarding. While the outcome was not a win, the lessons, inspiration, and perspective gained are invaluable. Photography is, ultimately, a dialogue - between subject and photographer, between image and viewer, and, in the case of competitions, between artists across the globe. Being part of that conversation is, in itself, a significant achievement, and it has set the stage for the next chapter of my work.
As I prepare for the year ahead, I am driven not by accolades, but by curiosity, challenge, and the pursuit of excellence. The International Pet Photography Awards have provided a benchmark, a mirror, and a motivation to elevate my craft, and I am eager to see where this journey will take me next - across the Australian outback, into the depths of our unique landscapes, and toward images that resonate both technically and emotionally on a global stage.
