January – Leading Lines. Create an interesting composition that has elements that work as a visual path to guide the viewer to the main subject.

February – Old Buildings. Be creative -interiors, exteriors, architectural details, etc.

March – Nightscapes. Photograph an interesting landscape or cityscape at night.

April – Places of Worship. This doesn’t necessarily have to be a building, it can be a spiritual or holy locale. Make sure your photograph informs the viewer in some way that the subject is a place of worship. It should not require additional explanation to make the connection.

May – Flowing Water. Show an interesting scene that creatively uses flowing water as the primary subject. Be creative, remember that flowing water exists in many places other than in nature.

June – Long Exposure. Make an exposure 1/2 second or longer in such a way that that length of the exposure contributes substantially to the appearance of the subject.

July – Reflections. Submit an image in which the subject is shown creatively in a reflective surface. For example but not limited to water, glass, mirror, metal, etc.

August – Double Exposure. Present an interesting image that is obviously combined from two distinct and separate original images. This may be done in camera or via software. Since this process is altered reality by it’s very nature you will not be required to label your submission as such.

September – Rainy Day. Create an image that is obviously created in rainy conditions and in which those conditions contribute substantially to the story you are visually telling your viewer.

October – Capture Motion. Create an image in which the motion itself becomes the subject. Freeze-frame, blur, timelapse composite, etc.

November – Automobile/Truck/Motorcycle. Make an interesting photo of any of these three modes of transportation. Be creative – think about static beauty shots, action shots, detail shots etc. If including people remember that for this assignment the vehicle must obviously be visually more important as a subject than a driver, rider, etc. For example if you submit a photo of a motorcycle with a rider you must be creative enough to ensure that the motorcycle is obviously more important visually than the combination of the rider paired with the motorcycle in your composition.