2025 International Landscape Photographer of the Year
"Even though I admire photographers who can create a beautiful image by combining multiple photos, my personal preference is to use a single photo. I like to process my images so they retain a realistic look, but in a way that conveys my emotions of the moment at which the photo was taken."
Born and raised in Venezuela, J. Fritz Rumpf grew up in a country with some spectacular landscapes and diverse cultures. His passion for photography started as a kid with a little Kodak Instamatic, but then as he explains, life got in the way and photography took a back seat. "Many years later, my interest in photography was reawakened while travelling and eventually in 2020, I dedicated myself full-time to photography."
Today, Fritz lives in Phoenix, Arizona with his husband John, who has been his biggest fan, encouraging him every step of the way. "And yes, John often doubles as a sherpa on our trips, carrying some of my photography gear."
Fritz uses Nikon Z8 and Z7II cameras with a range of Nikkor Z lenses (14-24mm, 24-70mm, 24-200mm, 180-600mm), and two favourite F mount lenses (plus a Z mount adapter), the 105mm f2.8 and 70-200mm f2.8. He uses both Manfrotto and FLM carbon fibre tripods, with a Really Right Stuff BH40 ball head. "Even though I believe that ultimately it is the photographer who creates the art, there is no denying that good quality equipment is essential and makes a big difference."
"With the exponential advances in Lightroom, I am increasingly using it for most of my processing. I still use Photoshop for major spot removal and refined masks, and sometimes I will use Topaz Lab in moderation for sharpening and noise reduction, with Helicon Focus my go-to for focus stacking.
"I like to keep an open and curious mind when photographing, not limiting myself to just landscapes, but photographing everything that catches my eye. New techniques I try in other genres, often translate beautifully to landscapes, keeping things fresh and interesting. I also like to approach landscapes from different angles; from wide to up close and, more recently, from above with a Mavic 3 drone. More and more, I’m drawn to intimate scenes, composing the photograph so that it catches the viewer's attention in a way that is not immediately obvious as to what it is. Images that capture our curiosity and imagination are the most rewarding.
"A few years ago, I heard a fellow photographer describe how he likes to have a conversation with the landscape before he photographs it. At the time, it didn’t make sense. Now I get it. I can spend days camping in remote areas, far away from the craziness of everyday life. Spending all day in nature, marvelling at its beauty, gives me a chance to have those conversations and connect more deeply with my surroundings.
"There are many photographers who have and continue to influence my work. Suzanne Mathia has been the biggest influence, not just in my photography, but in my original post-processing journey as well. I consider myself lucky to have her as a friend and mentor. Some other modern day photographers whose work I greatly admire include Huibo Hou, Mieke Boynton, Eric Bennet, Jennifer Renwick, David Kingham, Andrew Mielzynski, David Thompson, Tony Hewitt, Cole Thompson, Daniel Kordan, Anne Belmont, Sarah Marino, Peter Coskun and Gary Randall.
"There is no doubt that taking part in photo competitions has elevated my photography to a whole new level. I choose competitions based on past winners and how the winning images resonate with me. By looking at the work of the organisers, judges and past winners, I have been exposed to a wide range of different styles and approaches, not just of photography, but in post-processing as well. In turn, this has inspired me to try new techniques, resulting in artistic growth.
"What I like about ILPOTY in particular is that participants get a score for each entry. Even though scores are subjective, they still give me a general idea about how my work is progressing. And it is a really nice touch that ILPOTY honours the top 101 photos in an annual book, giving more photographers a chance of their work being seen. It is exposure such as this that has led to being noticed by book and magazine publishers, including National Geographic."
