Final document -October 2006 

1. Introduction 

With the exponential growth in digital imaging brought about by incremental improvements in 

the quality and resolution of digital cameras and film scanners, as well as significant 

reductions in prices, digital photography has now effectively replaced slides as the most 

popular medium within the various divisions of PSSA. It is the task and commitment of the 

PSSA that when new technology and ideas come along, every effort should be made to 

encourage their use and application to enrich and refresh established practices. 

The objective of this document is thus to provide technical and practical guidelines for running 

competitions and exhibitions based on digital images that will either be viewed on a computer 

monitor or projected electronically with a digital data projector. Though this document will 

specifically focus on national standards for hosting e-photography salons, it will also be of 

value to clubs that want to include the digital medium at club level or for regional 

competitions. 

2. Definition of a digital image 

A digital image for the purpose of this document is defined as a raster, 2-dimentional, 

rectangular array of static data elements called pixels, intended for display on a computer 

monitor or projected with a digital data projector. Reference to a “Digital image” must thus be 

understood as referring to the end medium and not necessarily how it was captured or 

produced. Images may be acquired on traditional film and scanned to an electronic file, or 

more commonly, acquired electronically with a digital camera. The number of pixels along 

the height and width of a digital image is called the pixel dimensions of an image. The 

resolution of an image is determined by the number of pixels per inch (ppi) printed on a page. 

3. Post-capture processing and digital manipulation 

3.1 Introduction 

In view of the perceived perception by some that digital photography is synonymous to digital 

manipulation, it is essential to address the ethics and “rules” of post-capture processing of 

digital images. While the aspect of manipulation or alteration of the “truth” of a photo is by no 

means unique to a digital image, it is a fact that the digital process allows much greater 

possibilities with regard to the alteration of the original image. The interpretation of what the 

‘‘truth” of an image constitutes and when post-capture processing is considered 

“manipulation”, is subjective by its very nature and likely to be interpreted differently by 

different people. While it is clear that there is no clear answer as to what is “right” and what is 

“wrong”, it is essential that there are some guidelines as to what is considered acceptable 

post-capture processing as applicable to images intended for entry into specific sections or 

categories of photography. 

3.2 What is digital manipulation? 

Many of the current thoughts on what an unmanipulated image constitutes are based on the 

norms imposed by the long standing history of film based photography. An image created by 

a single exposure of a camera on a film emulsion is usually accepted as a truthful 

representation of the scene, despite the fact that by the very nature of the photographic 

process such an image captured by a camera will often differ from the way the human eye 

observed that scene in real life. There are many examples such as an image created by the 

unique perspective of a wide angle lens in which objects close to the lens appear much 

bigger in relation to subjects further away. The same applies to the compression effect and 

shallow depth of field of a fast telephoto lens in which the background is out of focus. Add to 

this different film emulsions which differ in contrast, colour balance and saturation and the 

concept of a truthful representation of reality becomes clouded. 

It is thus clear that in absolute terms a “truthful” rendition of a scene as captured by the 

camera is in many ways a myth. However, we accept that as the “truth” within the limitations 

imposed by the unique characteristics of the photographic process. For the purpose of this 

document, an unmanipulated digital image will be considered one that could be presented in 

a court of law or printed in a newspaper, without dishonesty or perjury by the photographer, 

as an accurate record of what the photographer saw within the limitations of the photographic 

process and equipment used. The image should be the result of a single exposure by the 

camera. Therefore, multiple exposures or composites of more than one image will be 

considered manipulated images. The removal, cloning, addition, rearrangement or combining 

of elements within an image are also considered as digital manipulation. 

3.3 Post-capture processing not regarded as manipulation 

It is important to understand and accept one fact about digital photography: to get an image 

to render the original scene as seen by the human eyes as accurately as possible, it is 

essential to do a certain amount of post-capture processing. The reason is a simple matter of 

science. The technical limitations in digital sensors, film scanners, computer monitors and 

digital projectors mean that reproduced images cannot equal the range or quality of light that 

is produced in real life. Therefore, it becomes the task of the photographer to work within 

technical limitations to render something that approximates the real life scene. 

There are often misconceptions regarding post-capture processing done on an image versus 

an image directly from a digital camera. Most digital cameras offer the option of setting the 

level of sharpening, contrast and saturation in-camera where the software of the camera does 

these adjustments. However, more advanced photographers prefer to set the camera to do 

as little processing to the images as possible, since the processing can be done more 

accurately and with more control on a computer with dedicated software like Adobe 

Photoshop. Digital SLR cameras in particular are designed to render images that require 

some post-capture processing for optimum appearance. 

Furthermore, with the advance in technology, it is now possible with digital photography to 

correct several aberrations and imperfections of the photographic process, which were not 

possible in the case of film based photography. These corrections must be viewed as such 

and not as manipulations. It is also important that the reasons for imposing limitations on 

permissible post-capture processing be clearly stated. The motivation should purely be one 

of ethics and not because of fear that a photographer more skilled at post-capture processing 

is able to do things that others can’t and which will give him/her a competitive advantage. 

The skill at efficient post-capture processing of digital images is an integral part of digital 

photography and part of the learning curve. 

For the sake of practicality the following post-capture processing procedures performed on a 

digital image with the aid of a computer and digital image editing software such as Adobe 

Photoshop, will not be considered as digital manipulation: 

(1) Removal of dust and scratch marks on scanned images or spots from dust particles 

on the CCD/CMOS sensors of digital cameras. This also includes bright spots caused 

by so called “hot pixels” on the sensors of digital cameras. Specific lens/sensor 

aberrations such as chromatic aberrations and purple fringing may also be 

corrected/removed. 

(2) Adjustment of exposure and contrast, including dodging and burning similar to 

those techniques that are commonly used in traditional printmaking. However, these 

should not be so extreme as to render the image an unrealistic representation of what 

the photographer saw. Features may not be darkened or lightened to such an extent 

that the effect is the same as if they were removed by a cloning tool. 

(3) Adjustment/correction of the colour balance. This can either be done by selecting 

an appropriate white balance during the conversion of RAW images, or by 

adding/subtracting colours in the photo editing software. The post-capture application 

of digital colour correction filters like warming or cooling filters, similar to the 81 and 82 

series of filters, is also allowed. The objective of these filters will, however, be limited 

to improving extreme lighting condition such as those prevalent during overcast days or 

at high altitude and not to create an unnatural effect. 

(4) Application of colour saturation. Non-selective saturation that is applied to the 

whole image is permissible. 

(5) Reduction of digital noise, especially in high ISO images from digital cameras, or 

film grain in scanned images. Various options of noise reduction are available, varying 

from in-camera noise reduction (by the camera’s software), noise reduction by the RAW 

conversion software or dedicated noise reductions applications such as Noise Ninja and 

Neat Image that can operate as stand alone applications or Photoshop plug-ins. 

(7) Sharpening of the image. All modern sharpening algorithms and techniques such 

as edge-sharpening, luminance sharpening and mode sharpening are permissible. 

(8) Correction of inherent lens faults like distortion (pincushion and barrel distortions) 

(e.g. correction of a curved horizon due to lens distortion). The objective here should 

once again be to render the image a more accurate representation of the original scene 

and not to create an unnatural effect. 

(9) Cropping and resizing are permissible. 

3.4 When is digital manipulation not permissible? 

It is important to state that “manipulation” and manipulated images per se should not be 

viewed as the ultimate evil of digital photography. One advantage of digital photography is 

that it offers the creative photographer freedom of expression and the means to display 

his/her artistic talent. Manipulated images are thus totally acceptable in those divisions such 

as the open or pictorial sections where few restrictions apply. 

Except for the permissible post-capture processing described under 3.3 above, no additional 

alterations (see also section 3.2) may be done to images intended for entering in the following 

divisions: 

(1) All nature divisions including zoological and botanical/geological sub-divisions. 

(2) Photo journalism divisions. 

(3) Photo travel divisions. 

The Honours and Awards Division allows for manipulation in the nature, photo journalism and 

photo travel divisions under certain conditions -no panel may include both manipulated and 

unmanipulated nature, photojournalism or photo travel images. All manipulated nature, photo 

travel and photo journalism images must be so indicated by the addition of the letter M at the 

end of the file name. 

3.5 Verification of the authenticity of unmanipulated digital images 

It is suggested that the above mentioned guidelines regarding permissible post-processing of 

digital images be made known to all photographers that intends to submit digital images to 

salons or apply for e-honours. Integrity and honesty of photographers must always be the 

main element of control, and should be encouraged. However, photographers participating in 

salons must be aware that they may be asked to verify the authenticity of an image. 

Verification can be in the form of a RAW images, original slides and/or original jpeg images 

on both sides of the image. Photographers are thus encouraged to use the RAW option of 

their digital cameras, especially for images intended for entry in those divisions on which 

restrictions on post-capture processing apply. In the case of honours applications in e-

photography, photographers must submit RAW files, original slides or jpeg images on both 

sides of the entered image with the panel. This will be effective as from January 2007. 

PSSA will have an advisory/appeal panel chaired and compiled by the E-Photography chair 

person to advise Salon Directors on the authenticity of any image if it falls outside their field of 

expertise or if they only want conformation. 

3.6 Regulations applicable to manipulated images 

In the case of manipulated images it is assumed that the digital image will be original and 

does not incorporate elements produced by anyone else but the photographer. No copying 

of any kind of somebody else’s work is permissible. This includes, but is not restricted to, 

images which by any means include painting, tracing and scanning. Furthermore, all actions 

in reaching the final presentation, except film processing and unmanipulated commercial 

scanning, must be carried out by the photographer himself. The operation and use of all 

computer software must be done by the photographer and may not be done by any other 

person, whether under the photographer’s guidance or otherwise. 

4. Digital image preparation for exhibition/projection 

4.1 Introduction 

Unlike conventional slides projected with a quality analog projector, the number of variables 

that may have an influence on the way the final projected digital image appears on screen, is 

numerous and complex. This is a function of the variability that exists in both the hardware 

and software used to capture, prepare and project the final image. This section is intended to 

assist authors to prepare their digital images for submission in such a way that they are 

displayed as accurately as possible, without colour casts or problems with 

brightness/contrast. 

4.2 Colour models and colour spaces 

Colour models are used to describe the colours we see and work with on computer monitors. 

Each colour model represents a different method for describing and classifying colour. 

Colour models use numeric values to represent the visible spectrum of colour. The most 

common colour model is the additive RGB (red-green-blue) colour model, opposed to the less 

common subtractive CMYK (cyan-magenta-yellow) colour model. Colours inside a particular 

colour model can be described as (R)ed, (B)lue and (G)reen coordinates. The most 

saturated (i.e. purest) red in any colour space has an R-value of 255. All digital cameras and 

most film scanners capture digital data in the RGB colour model, opposed to the CMYK 

colour model. 

A colour space is a variant of a colour model and has a specific gamut (range) of colours. A 

colour space can be described as the specification of the number of colours that can be 

contained within a digital image. Within the RGB colour model there are a number of 

different colour spaces, with the most common the Adobe RGB and sRGB colour spaces. 

While each of these colour spaces defines colour using the same three axes (R, G, and B), 

their gamuts are different. Adobe RGB has a larger colour gamut than the smaller sRGB 

colour space. 

To make use of the larger colour gamut of the Adobe RGB colour space, the device used to 

capture the digital data (digital camera or film scanner) must first of all be able to capture the 

data in the wider Adobe RGB colour space. Furthermore, the software that are used to view 

or edit the digital image, must be able to recognize and handle these wide gamut images. 

Lastly, the device (computer monitor or digital data projector) must be able to display these 

wide colour gamut images accurately. It is also important to remember that any software 

application does not automatically know whether an image is in the Adobe RGB or sRGB 

colour space. For this reason images must be tagged with the appropriate information. 

In general, it is beneficial to use a colour space that is as large as possible. The danger, 

however, of using these wide gamut colour spaces is that the use of these images in 

applications that are not colour aware, leads to washed-out looking colours. In view of all 

these considerations the following is suggested: 

(1) That digital images are captured in the highest possible colour space that the

particular device is capable of. Not all digital cameras support the Adobe RGB colour 

space, but those that can must preferably be set to record the data in this colour 

space. 

(2) Do all the post-capture editing of the images in a colour space aware software 

application, such as Adobe Photoshop. In this way the highest number of colour is 

preserved, which can be very useful, especially for printing. 

(3) Convert the final image to the sRGB colour space for screen display or projection with 

a data projector. This is done to avoid inaccurate display of the image, should 

software that is not colour aware, be used to display the images. It is also currently 

the safest option, given the limitations of both hardware and software to display wide 

colour gamut images accurately. If Adobe Photoshop is being used, this conversion 

can be done as follows: Select “Image” from the top menu, and under “Mode” select 

the option “Convert to profile”. A window will appear that states the current colour 

space (source space) of the image and below that a drop down option list with 

numerous options for the destinations colour space. Select sRGB from the drop-down 

list and press “OK”. Remember to save the file under a separate name to preserve 

the original image in the wide colour gamut colour space for later use. Once an image 

is converted to the smaller gamut colour space, information is lost and cannot be 

recovered by converting the image back to the Adobe RGB colour space. 

4.3 ICC profiles and monitor calibration 

More advanced software such as Adobe Photoshop follows a colour management workflow 

based on conventions developed by the International Colour Consortium (ICC). ICC profiles 

are simply look-up tables that describe the properties of a particular colour space. They 

define the most saturated colours available in that colour space; i.e. the bluest blue or 

deepest red that the particular monitor can display. If there is no profile the red, green, and 

blue values that make up a colour have no particular meaning -you can say something is 

blue, but not exactly which shade of blue. This implies is that if a computer monitor is not 

properly calibrated and profiled there is very little control over the accuracy of the colours that 

is displayed on that monitor. Subsequently, if the same image is viewed on another monitor 

the colours may look quite different from the previous monitor. If an image was prepared on 

a computer with a properly calibrated and profiled monitor the image will look exactly the 

same on another monitor, which was also properly calibrated and profiled. Adobe Photoshop 

versions 6.0 and later, automatically display everything using the set monitor profile. 

There are different kinds of ICC color profiles: device dependant and device independent 

profiles. When a monitor is profiled, the software that is being used creates an ICC profile for 

the monitor. The profile describes the colour behaviour of the monitor -what colours can or 

cannot be displayed on the monitor and how the numeric colour values in an image must be 

converted so that colours are displayed accurately. That is a device dependant profile. When 

an image is displayed on the monitor, the colour management software translates the RGB 

values from the standard colour space (Adobe RGB or sRGB) into the colour space of the 

monitor. In addition to describing the monitor's behaviour, a monitor profile also contains 

calibration information, which changes the behaviour of the monitor. 

The implication of all these technical aspects is that it will be essential for photographers to 

prepare their images on a properly calibrated and profiled computer and monitor. This will 

ensure that when the images are submitted to a salon for judging, they have the best chance 

to look the way they are intended to be. If not, the projected image may be too dark, too light 

or show colour casts or incorrect colours. 

The type and quality of the monitor is also important. It is recommended that a quality CRT 

(cathode-ray tube) monitor or LCD (liquid crystal display) monitor, be used. The CRT monitor 

should have a Refresh Rate (the number of times that a screen can be redrawn per second) 

of at least 70Hz and a Dot Pitch (the distance between two similarly coloured phosphors) of 

0.28 or less. 

Lighting in the room in which the computer and monitor are placed is also important. For 

example, fluorescent lights may cast a greenish glare across the front of the monitor. Where 

the monitor is near a window, daylight glare will also affects the screen. For the best results 

the monitor must be set up in a room with minimal ambient light. Any lights must be moved to 

the side of the monitor, not directly in front or behind it. A monitor hood helps block glare, 

creating a significant viewing improvement. Without the glare, colour observations will be 

easier and eye strain will also be reduced. Flat screen CRT monitors also help to reduce 

glare and reflections. 

A monitor can be calibrated and profiled with software only, such as the Adobe Gamma tool 

that comes with Photoshop (also with PS Elements), but it is strongly recommended that a 

hardware device such as a Spyder is used. A Spyder is a device that is attached to the 

screen and which contains a photo spectrometer. It is connected to the computer via a USB 

connection and in combination with the installed software, it measures the colour response of 

the monitor. In this way an accurate ICC profile of the specific monitor is created, which is 

then stored as the default monitor profile. Clear instructions come with the various spyders, 

but it is recommended that for a PC a Gamma value of 2.2 is set (1.8 in the case of MAC) 

with the White Point at 6500°. Monitor calibration should always be done in a darkened 

room since ambient light that reflects off the monitor may influence the calibration. It is also 

important to remember that CRT monitors may go out of calibration with time and need to be 

recalibrated on a regular basis. This is not a problem in the case of LCD monitors. 

4.4 Image resolution and file format 

Images intended for submission to a salon or competition must be resized to fit the maximum 

display resolution of a XGA digital data projector, with a true resolution of 1024 x 768 pixels 

(see also section 5.4.1: Digital projection). Horizontal images must be resized to 1024 pixels 

on the horizontal axis and 768 pixels or less on the vertical side. Vertical images must be 

resized to 768 pixels on the vertical axis and less than that on the horizontal axis. There are 

two reasons for this – firstly large files slow down the processing and secondly in software 

such as Irfanview where the software does not resize the images smoothly, the images have 

jagged edges (worse on the diagonals) – thus obviously reducing the quality of the image. 

Because of file size considerations the JPEG file format is recommended for salon entries. 

The JPEG (Joint Photographic Experts Group) file format retains all colour information in an 

RGB image but compresses file size by selectively discarding data. A higher level of 

compression results in lower image quality, and a lower level of compression results in better 

image quality. In most cases, the maximum quality option (compression setting of 12 in 

Adobe Photoshop) should produce an image indistinguishable from the original. For salon 

entries, individual JPEG images should not exceed 500Kb. An appropriate JPEG 

compression value (preferably not less than a value of 10 in Photoshop) must be selected in 

the photo editing software to ensure that the image size does not exceed 500Kb. 

In the case of honours application in the e-section, which must be submitted on CD-ROM, file 

size is of less importance. In order to retain maximum image quality an uncompressed file 

format may be used. For this purpose the Tagged-Image File Format (TIFF) in its 

uncompressed format is recommended. 

4.5 Inclusion of wording and frames/borders 

For images intended for individual judging no text or wording will be permissible on such 

images. Exceptions are title slides of AV series where wording will be acceptable and also in 

the case of entries into special divisions such as visual art sections where few restrictions 

apply. In the latter case the only requirement will be that the photographic image as captured 

by the camera must still comprise the most important part of the final image. Frames or 

borders are acceptable in all cases and may be included or omitted based on the preferences 

of the author. 

5. Hosting a digital salon 

5.1 Introduction 

The advantages of hosting and participating in salons based on the digital medium are 

numerous. Some of the most obvious advantages include significant cost savings, e.g. the 

high cost of postage to return entries will be reduced or even totally eliminated. This is 

because no original images that need to be returned to the author are submitted. Electronic 

catalogues can be compiled and the task of compiling AV’s for purposes of salon exhibition 

will be simplified. Logistical and practical problems regarding the opening of entries and 

storing the packaging material and slide/print boxes for return to the entrants will also be 

eliminated. This will result in substantial savings in terms of time and manpower. It is 

foreseen that this saving in cost and time will enable a larger number of member clubs, 

specifically the smaller clubs, to host a national salon. 

5.2 Format 

In view of the well known and established format of the current salon system involving 

traditional film-based images it is suggested that the same guidelines be applied to the e-

photography section. For a national salon a total of six images may thus be entered in each 

of the stipulated sections as determined by the relevant salon committee. 

5.3 Submission of digital images 

Images should preferably be submitted on CD-ROM since it is inexpensive, have a large 

capacity and is small enough to be fitted in a small padded envelope. Where the facilities 

exist, entries may also be submitted by e-mail. The organizers of the various salons will 

determine their own requirements regarding this aspect. Salon organizers may also decide 

themselves whether they will return the submitted CD-ROM or other media to the author, 

possibly as an additional cost item to the entry fee to those authors that prefer to have their 

media returned. The arrangement regarding the return of the submitted media must be clearly 

indicated on the entry form. 

5.4 File naming and preparation for judging 

File naming is relevant both to the photographer at the time of submission and by the salon 

organizers upon receipt of the entry. 

The following naming system by the photographer is suggested for images that are being 

submitted to a digital salon: 

The file name must be in 3 groups, each separated by a semi-colon. The first group will 

represent the division entered (e.g. a, b, c, etc.), followed by the numerical number of the 

picture in that division (e.g. 1, 2, 3 … 6). The second group must include the author’s name 

truncated to a maximum of 16 characters (e.g. johan botha). The third group must include 

the title truncated to a maximum of 24 characters (e.g. blue heron at dawn). Only figures and 

letters, and eventually the semi-colon (;) that separates the various groups may be used. The 

letters must be in lower case. 

Format: [Division + numerical number] [author] [title] 

Example: a1;johan botha;blue heron at dawn.jpg 

This addition will simply depict a particular “tray” (e.g. A, B, C…) followed by the “position” in the 

“tray” (e.g. 01, 02, 03, 04, ….50). These numbers will be allocated by the salon program as 

the details are being computerized. In the end all the images are simply copied into a 

directory where the sort option in, for example InfanView, will ensure that the images will be 

displayed in the same order as on the generated score sheet of the salon program. 

Example: C50-a1;johan botha;blue heron at dawn.jpg 

In this example the addition of “C50” will determine where the file will be placed. It will follow 

on “C49” and will be followed by “D01”. 

5.5 Viewing of images for judging 

Salon organizers have the choice of either projecting the digital images with a calibrated 

digital data projector or displaying them on a calibrated computer monitor. Digital projection 

is preferred, but clubs that don’t have access to a quality data projector yet, may as an interim 

measure use a calibrated monitor. The specific approach that will be used must be clearly 

stated on the entry form. When judging from a computer monitor the image may be 

simultaneously projected for the audience attending the judging. 

The software used for displaying the images is also important and must also be stated on the 

entry form. A highly recommended software package is IrfanView, which is freeware and 

may be downloaded from the internet (www.irfanview.com). The advantage of freeware 

is that every author has free access to it in order for them to view their prepared images in the 

particular software application before submitting the images. 

5.5.1 Using a computer monitor 

If concerns regarding the proper calibration of the data projector exist or a quality data 

projector is not available a calibrated 19” or 21” computer monitor can be used for judging 

instead. It is recommended that a quality CRT monitor, rather than a LCD monitor, be used. 

The monitor should be properly calibrated as described under section 4.3. 

The placing of the monitor should be such that all three judges have a clear view of the 

monitor screen, positioned at a comfortable viewing distance. For a 19’’ monitor the viewing 

distance should not be closer than 70cm and not further than 100cm. For a 21’’ monitor the 

viewing distance should be not closer than 80cm and not further than 120cm. All three 

judges should be positioned in front of the monitor at an angle not exceeding 30o from the 

central axis of the monitor. Windows should be covered and care should be taken that the 

ambient light source in the room does not cast any reflection on the computer monitor. 

Though a 19” or 21” computer monitor is capable of resolutions much higher than 1024 x 768 

pixels it is recommended that the prescribed resolution of 1024 x 768 pixels for the images be 

retained for the sake of standardization and also for projection of the digital images during the 

exhibition. 

With simultaneous projection it is mandatory that the computer monitor and judges be 

positioned in such a way that the projected images are not visible to the judges and also that 

the monitor screen is not visible to the audience. This must be done to avoid any influence 

that the (possibly non-calibrated) projected images and comments from the audience may 

have on the decision of the judges. 

5.5.2 Digital projection 

Equipment required for projection will be a desktop or notebook computer to which a digital 

data projector is connected. For purposes of digital projection either a Liquid Crystal Display 

(LCD), Liquid Crystal on Silica (LCOS) or Digital Light Processing (DLP) projector may be 

used. A quality, current model XGA projector with a true resolution of 1024 x 768 pixels is 

recommended over a SVGA projector with a true resolution of 800 x 600 pixels. Furthermore, 

the data projector should preferably have a brightness rating of at least 2000 ansi lumens 

with a contrast ratio of at least 300 : 1 for a LCD projector or 800 : 1 for a DLP projector. The 

projector that will be used must clearly be stated on the entry form. 

Calibration of the data projector is essential and the use of a non-calibrated projector for 

judging entries during a salon is not permissible. It is recommended by PSSA that all 

projectors used for judging be calibrated with the aid of the Colorvison Spyder 2 Pro  

A monitor/projector test utility from Nokia, 

in combination with an official set of PSSA test images (available on request) can be used to 

verify the calibration. The Nokia monitor test utility is available as a free download on dozens 

of web sites. To find it go to http://www.google.com and type in “Nokia monitor test”. 

The calibrated setting should be saved on the computer and data projector since no further 

adjustment to the projector will be allowed once judging started. In all other regards the 

norms and recommendations regarding the screen and presence of stray light during 

projection as set out in the PSSA Standards Handbook will apply. 

5.6 Code of conduct 

All e-photography salons should be conducted with an official declaration by the salon 

director to the effect that all possible care will be taken to avoid the misuse of the images or 

the unauthorized distribution of the submitted images. The use of the images shall be 

restricted to judging and subsequent display/exhibition of the accepted images. They may 

also be used in an electronic catalogue, but then in such a way that the images are contained 

in an executable file format from which individual images in their original file format cannot be 

extracted. Under no circumstances must submitted images be distributed in their original 

form as submitted by the photographer. It is the responsibility of the salon director to ensure 

that all images are deleted and media such as CD-ROM’s not returned to the authors be 

destroyed after completion of the salon. Copies of the AV’s that were compiled for exhibition, 

may be kept for later use by the particular club. It may also be made available to the AV 

library of PSSA from where other clubs affiliated to PSSA may request a copy for non-commercial 

exhibition to their members.