I agree, but isn't it also a commentary on the trajectory of the IAPLC competition itself and the type of entries it attracts? In that ultimately, very few diorama scapes, by their very nature, are really true representations of natural aquatic habitat, or the “Recreation of a natural habitat for fish”, and therefore as such should they score as highly as they do? Especially considering that criteria warrants 50% of the marks, 60% if you count "Presentation of natural atmosphere in layout work".
In other words that criteria is either flagrantly ignored, not defined appropriately, or the judges have very little understanding of what a natural aquatic habitat looks like. Therefore, why not go one step further and use photoshop to enhance the fantasy landscape because clearly the IAPLC doesn't care what constitutes a natural habitat for fish anyway? In this respect surely the IAPLC has reaped what it's sown?
And whilst I totally appreciate the skill, vision and hard work involved in the creation of some diorama scapes, how does the use of mirrors create an impression of a natural habitat for fish? Yes it creates a sense of wetness and of water, but again it's a fantasy. Surely the fact that the use of mirrors is recognised as legitimate simply reinforces the point above, doesn't it?
I think if you read my earlier post, I mostly disagree— about the categories, and how suited the diorama style is to the categories. I do think ADA could be more clear on what they mean by “Natural Habitat for Fish,” but those who do understand it deal with it well.
The “what kind of entries it attracts” argument sounds a bit like victim blaming to me. Just as I wouldn’t blame an assault victim for what she/he was wearing, I wouldn’t blame IAPLC for Alberto’s cheating.
They do have a responsibility to take action when it becomes apparent though. I hope ADA is making considerations— they historically take their time and are measured in taking action to these types of circumstances; they may want to make sure they are lined up with a proper response before making it.
As for the direction of the contest and what contest aquascaping should be— Amano-San loved the progressive arc of aquascaping. I remember in 2009, going to the NA Party and hearing him say “All these layouts are just copies of my work. Can’t the world show me anything new?”
The 2013, 2014, 2015 GPS were all diorama scapes, and I believe the “Best in Show” layouts chosen by Amano-San alone were diorama as well.
The contest will die if it is not at least somewhat progressive, and allowing for new expression and pushing the envelope in technique. I did what Amano-San asked of me in 2009— show a completely new expression of Nature in the aquarium, something never seen before.
And in order to get the insight to create this work, I did what the contest and ADA had always hoped for— study nature deeply.
Perhaps the IAPLC should just be honest and totally scrap the idea that the winning scapes have anything to do with the “Recreation of a natural habitat for fish”? It just increasingly seems like an ADA/Takashi Amano legacy that clearly doesn't apply any more. 'To know Mother Nature is to love her smallest creations', does the IAPLC really believe this or has it just become a commercialised catchphrase?
I disagree. The legacy is clearly there-- if anything, we've seen in the last years that in order to pursue greater heights, in order to pursue more consistent strength, the top layouters who truly are at the top have needed to demonstrate a higher appreciation for tradition, for creating the underwater feel. That's why you see Josh's and Siak's layouts becoming more hybrid-styles or in Josh's case going completely traditional in style this year. Fukada-san too, you'll see his 2018 work was part of this trend to re-visit the traditional style and hybridize it with learnings from Diorama-- and this year his work completely broke all his main tenants of scaping. The ranking may be poor for Fukada-san (33), but this lean into traditionalism is his own way of soul searching.
Last year I went hard biotope, and created an aquascape purely dedicated to Japan's riverways. I titled it "Amano-Gawa" (milky way galaxy in Japanese, but can also be translated as "Amano's River"), and built the structure in order to prominently feature Riccia + Hair Grass, Amano-san's famous combination, highlighted by Potamogeton Gayi, another plant he used with those two often in Nature Aquarium World. I am a student not only of Fukada-san, but the 20 year veteran Masashi Ono as well. The sense for Nature Aquarium from him, and appreciation for studying nature is what allows me to create diorama that differentiate themselves from the bulk of Asian diorama scapes-- and many previous top 27 diorama layouters found themselves outside the top 127, and even in the 300's, 400's, 1000's this year.
High impact, technically savvy Diorama skills alone will get you into the top 27 inconsistently, or even top 7 here or there. But year-in year-out performance at the top level definitely requires dedication to studying nature, appreciating Amano's legacy, and "Recreation for a Natural Habitat for Fish," or "Creating a Sense of Nature."
Whether you do NA or you do Diorama, the key is to be one of the very best in the lane you pick. And often it is aquascapers that pursue knowledge and skills most broadly that are able to win in whatever lane they choose. Last year, I was the #1 river layouter, not someone traditionally strong in the style like Tsukiji-san. This year, Josh Sim was the #1 Traditional NA style scaper-- and he ranked 3rd in the world. The two inform each other-- doing diorama can make you better at traditional, and visa versa; for those who are not restrained and have a wide appreciation for nature and nature aquarium.
I'll say that the staff at ADA and folks in ADA world are no less passionate or dedicated to the mission when you meet them. I am sure as a company in a global market they have many pressures and much soul searching especially after Amano's passing-- but I do not doubt their dedication.
I can find about 10 features added at first glance.
