What types of photos make it in the Signature Collection?

The best way to get a photo into the Signature Collection is to take a photograph about something you care about, a real moment that is meaningful to you.

When you edit, don't overdo it. Make sure your photo is BIG (at least 4MP, or 2000 x 2000 pixels) and that it is clean: no border, no watermark, or any other graphic overlay. If you are using a previously uploaded photo, you may need to upsize to be eligible.

What Photos Get Selected?

  • Priority is given to photos with people (learn more)
  • Photos that tell a story & stand out
  • Photos that portray a real life moment
  • Photos that are crystal clear and free of any watermarks

Learn what makes a photo Signature-worthy. Check out these 3 examples:

Source (a): https://www.twenty20.com/photos/4fc9e955-d198-4bd7-b026-d478b40baff6
Source (b): http://somethinginherramblings.com/five-best-plazas-in-madrid/

Photo a

This photo feels like a real moment that could have been taken anywhere, but it’s distinct details also make it seem like they were staged just for this shot. It’s full of great details—the striking combination of the colors in the subject's outfit, the plants and the wall, the way her necklace mirrors the spikiness of the plants behind her, and the little plant wrapping itself around the window grate. It's also technically well executed. It’s got perfect exposure, sharp focus, and great composition. Because the photographer nailed the technical, the rest of the elements shine.


Photo b

This feels more like an often-seen family photo than one with interesting details waiting to be discovered. It's technically OK, but the subject’s face (and, more importantly, her eyes) are partially shaded and the composition is awkward. She’s so low in the photographic frame that her hands are cropped right out. Without good technical execution, it's easy to dismiss this as an everyday tourist shot that works only to show she was standing there in front of that thing.


Source (a): https://www.twenty20.com/photos/684a7f6a-21b9-4095-91ef-ff3ae602ba9c
Source (b): https://www.flickr.com/photos/dougtone/4112177746/in/album-72157622697744193/

Photo a

This photo’s most powerful element is the way it presents the narrative of the open road. The yellow and white lane lines pop out of the shadows and carry the viewer right up the center of the photo along the open road and off to some unpictured destination. That narrative experience makes this photo much more than just any shot of a road cutting through a forest—it’s a photo of the experience of driving through the forest, maybe on a road trip with your best friend or on the family vacation of a lifetime.


Photo b

This photo doesn’t hit the mark technically and it doesn't have a clear point of interest. The light is murky and the photo is mostly out of focus. It might have been shot from a moving car, which could have added to an experiential narrative, but because the photo doesn’t focus on any captivating details, the narrative is lost. Instead, the photo seems like one of a million just like this, taken of one of the exit signs at any highway.


Source (a): https://www.twenty20.com/photos/79144825-2413-4a4f-9268-cb9bc93bf864
Source (b): https://www.flickr.com/photos/myfwcmedia/8702450392

Photo a

This photo is a look into a unique activity that’s not easily accessible to most people. The engaging overhead perspective effectively puts the viewer right there with this fisherman and thousands of tiny silver fish. The energy of the fish charges the photograph, so even in this still shot they seem to be swirling around. The exposure is perfect and it’s important here because it is fast enough to freeze the motion of the fish but still show the movement of the fisherman’s hands as he worked.


Photo b

This photo gives the viewer a close look at the fish, but it doesn’t have any of the added context that could give the viewer an opportunity to engage. The photo is technically OK, but because it’s too tightly cropped there’s no sense of place or action. Without the context of a boat, dock, or fishermen, the fish become passive subjects and the photo is only interesting to a viewer who’s keenly interested in fish.

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