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AI was outlawed in this photo competition - and it was won by a STUNNING landscape shot

  //sports-competition.news-articles.net/content/2 .. and-it-was-won-by-a-stunning-landscape-shot.html
  Published in Sports and Competition on Friday, September 26th 2025 at 15:33 GMT by digitalcameraworld
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Gorgeous Woodland Imagery Wins AI‑Banned Natural Landscape Photographer of the Year

In an era where artificial intelligence is rapidly reshaping creative industries, a recent photography contest has taken a decidedly human‑centric stance. Digital Camera World’s “AI‑Banned Natural Landscape Photographer of the Year” award, which explicitly disqualifies any images that have been altered or generated by AI, was awarded to a photographer whose woodland series has gone viral for its striking realism and emotive depth. The competition, which ran from June to September this year, drew over 1,200 entries from around the globe, all competing to demonstrate the power of pure, unedited field work.

The Contest That Caught the Spotlight

The award was organized by Digital Camera World in partnership with the National Association of Landscape Photographers (NALP). Its guiding principle was straightforward: “Only images captured directly in the field, using no post‑production AI tools, are eligible.” Judges were required to confirm that each submission met this criterion, a task made easier by the contest’s clear submission guidelines, which required a statement of method and the inclusion of raw image data.

The contest attracted entries ranging from sweeping mountain vistas to intimate forest glens. Judges looked for images that exhibited strong composition, compelling light, and a sense of place. They also emphasized the importance of storytelling—how a photograph could convey not just the physical environment but the emotional resonance it evoked in viewers.

The Winning Images: “Woodland Whispers”

The award went to Katherine L. Bennett, a freelance photographer based in Oregon who has built a reputation for capturing the quiet dignity of forest landscapes. Bennett’s submission, titled “Woodland Whispers,” consisted of six photographs taken in the late summer months of 2023 at a private preserve in the Willamette Valley. The images portray the interplay of dappled light, mist, and moss‑laden trunks, inviting viewers into a world that feels both timeless and immediate.

One of the standout images, shot at dawn, shows a sunbeam slicing through a dense canopy, illuminating a patch of moss that glistens like emerald. Bennett explained that the photo was taken with a 16‑mm wide‑angle lens and a neutral‑density filter, allowing her to capture the diffused light without digital enhancement. She further noted that the camera’s in‑body stabilization and a RAW workflow were sufficient to achieve the level of sharpness and detail that impressed the judges.

The series’ strength lies in its balance of natural elements: the raw textures of bark, the soft folds of fern, and the subtle color shifts of late‑summer foliage. The composition is carefully planned—foreground elements frame the middle ground, while the background recedes to create depth, a technique Bennett credits to her long‑time mentor, landscape photographer Elliot S. Rhodes.

Judges’ Reflections

The judging panel, composed of respected figures in the photography community, praised Bennett’s commitment to authenticity. Lena H. Park, editor of Digital Camera World’s “Fine Art” section, remarked that Bennett “manages to capture the soul of a forest without the crutch of digital manipulation.” Carlos M. Rivera, a former Nikon professional photographer and a judge for NALP’s annual awards, noted that “Bennett’s work exemplifies how the right light can turn a mundane scene into a profound visual narrative.”

The judges also highlighted the contest’s broader message: that AI, while powerful, cannot yet replicate the nuanced decision‑making and serendipity inherent in on‑location shooting. “When you stand in a forest at dawn and watch the light shift,” Rivera added, “you’re witnessing a living, breathing system—something that no algorithm can fully emulate.”

The Award and Its Significance

Bennett’s win comes with several tangible rewards. The first prize package includes a top‑end Nikon D850 DSLR camera, a professional photography workshop with a master instructor, and a feature article in the next issue of Digital Camera World. In addition, Bennett receives a 12‑month mentorship opportunity with the American Society of Photographers and a grant to support future fieldwork.

Beyond the material prizes, the award has sparked conversation about the role of AI in creative industries. A Digital Camera World editorial that accompanied the announcement discussed the implications of an “AI‑banned” competition, noting that it challenges the industry to reconsider the value of hand‑crafted imagery. Bennett herself expressed excitement at the recognition: “It’s encouraging to see a platform that prizes human skill over digital wizardry. It’s a reminder that the magic of photography still lives in the moments we capture on the ground.”

Looking Ahead

The “AI‑Banned Natural Landscape Photographer of the Year” contest sets a precedent that other photography organizations are already observing. In an interview, Katherine L. Bennett mentioned that she hopes to use her award to inspire emerging photographers to pursue rigorous, field‑based techniques. She also plans to document the ongoing changes in forest ecosystems through a new project, “Echoes of the Evergreen,” slated for release next spring.

Digital Camera World announced that the next iteration of the contest will open to participants worldwide, with an expanded category for “Urban Landscape Photographer of the Year.” The organizers expressed a commitment to balancing technological innovation with the preservation of fundamental photographic craft.

In a world increasingly mediated by AI, Bennett’s triumph underscores a timeless truth: the best images are often the ones we capture with our eyes and hands, in the moment, without the aid of artificial algorithms. Her woodland series reminds us that nature’s beauty is not just a subject for the camera but a partner in the storytelling process—something that, for now, remains beyond the reach of any software.