Submission guidelines

  • Artists submit digital images of their work via the online submission process. 

  • The juror, Angie Dodson, will select photos for the exhibition from the submitted digital images and choose the award winners from the photos when hung in the gallery. 

  • Photographers working in all forms of photography are eligible. The four categories that you can submit to are shown below. You may submit a total of three images, and they can be in any category or categories:

    • Category 1: Color

      • Photos in this category can undergo changes that are part of basic normal darkroom workflow. That includes cropping and adjustments to exposure, contrast, color balance, and saturation. The camera used for image capture, film or digital, is immaterial.

    • Category 2: Black and White

      • Photos in this category can undergo changes that are part of basic normal darkroom workflow. That includes cropping and adjustments to exposure, shadow, contrast, and tone. Black and white photos have no color, so monochromatic photos that have a color, tint, or tone, should not be submitted in this category. The camera used for image capture, film or digital, immaterial.

    • Category 3: Alternative Process

      • Photos in this category are any unique handmade prints, including but not limited to cyanotype, lumens, Van Dyke, salt, chemigram, tintype, bromoil, gum bichromate, platinum/palladium, photogravure, albumen, liquid emulsion, ziatype, image transfers, kallitypes, lith prints, hand colored silver gelatin prints, encaustic and mordoncage, and handcolored photos. Unique prints made from digital negatives are eligible. The camera used for image capture, film or digital, is immaterial. 

      • NOTE: Any photo from this category that is selected for the exhibit must be the original photo created in the printing process. 

    • Category 4: Manipulation (digital and film)

      • A manipulated photo has been altered in a way that is beyond the changes that are part of basic normal darkroom/digital darkroom workflow. That includes adding or eliminating elements, collaging, composite images, excessive color saturation, inverting the photo, combining negatives during development, or using software processes outside the normal workflow of the digital darkroom. For example, use of the various filters or art tools available in digital editing programs will qualify as digital manipulation. This category description applies to both digital and film work. The camera used for image capture, film or digital, is immaterial. When deciding if your photograph belongs in this category, consider this: Does your final photo look quite different from what came out of your camera? If yes, it probably is a manipulation.

      • There are numerous methods for manipulation, and all are welcome in this category. 

  • Please do not submit diptychs, triptychs, or the like to this competition.

  • There is no age limitation for the photographer. There is no time limit for when a photo was taken. There is no theme for this exhibit. Show us your best work!

  • Artists may enter no more than three photos. You may submit to more than one category. The entry fee is $25 regardless of whether you submit one, two, or three images. No refunds of entry fee will be given after you enter the competition.

  • The maximum physical dimension for framed images is 24 inches on the longest side. This is the measurement of the longest side of the wood, metal, or other frame, not the photo size. If a photo juried into the exhibit arrives at the gallery larger than 24 inches on its longest side, it will not be permitted in the show. You will not receive a refund of your entry fee.

  • All images must be submitted to ArtCall in jpeg format, 72 ppi, minimum length on the longest side, 960 pixels, maximum length on the longest side, 1920 pixels. Maximum file size must be under 4 MB.

  • All images must be for sale, from which Stonehenge Gallery receives 40% commission. 

  • Photographers shipping their work are strongly encouraged to use plexiglass. Glass is more easily broken in shipping than plexiglass. If you use glass in framing your photo, and your shipped photo arrives at the gallery with broken glass, we will box it up and ship it back to you. No refund will be issues of your entry fee. If you hand deliver photos to the gallery, you may use glass.

  • Photographers are encouraged to use white or off-white mats and frames that complement the work and are appropriate in a gallery setting. Stonehenge Gallery reserves the right to decide what presentation is appropriate for this exhibit. If your accepted photo is deemed unacceptable due to presentation issues, it will be returned without a refund of your entry fee.

  • All photographs, including those on canvas, metal, wood, or other non-paper substrates, must be framed and ready to hang with wire hangers. No unframed gallery wraps will be accepted in this exibit. Sawtooth hangers will not be accepted. 

  • Delivery and pick-up of images to and from Stonehenge Gallery are the photographer’s responsibility, including insurance. If photographs are to be shipped back (not picked up), a prepaid shipping label must be provided by the photographer when the work is submitted to the gallery. The gallery will not ship photos back to the artist without a prepaid shipping label. Any images shipped to the gallery without a prepaid return shipping label will not be accepted into the show until the label is in the gallery's possession. No refund will be issued for the entry fee if a return label is missing and it does not arrive by the reception date for the exhibit.

  • Images remaining at Stonehenge Gallery 30 days after the exhibit closes become the property of Stonehenge Gallery.

  • Shipping and hand delivery instructions will be provided to accepted entrants with the acceptance notice. 

  • If you have any questions or have any trouble using the ArtCall website, contact Stonehenge Gallery via the “Contact” tab in the menu bar. We will do our best to reply to you within 48 hours.


To meet our sponsors see the "Sponsors" tab. This program/project has been made possible by a partnership that includes the National Endowment for the Arts and The Alabama State Council on the Arts. A sincere thank you to all our sponsors for their support!