Fifty war correspondents have gathered in Bayeux (France) on October 12 and 13 to debate and award trophies in the following categories: photo, print, radio, television, grand format television, young reporter – photo and video image.
Three honorary awards have been attributed: the Regional Prize for Students and Trainees of Normandy (television), the Public’s Choice Award (photo) and the Ouest-France Jean Marin Prize (print).
The winners ot the 25th Bayeux Calvados-Normandy Award for war correspondents are:
Photo Trophies (awarded by Nikon)
- 1st prize: Mahmud Hams (AFP) – Clashes on Gaza’s Border (Palestine)
- 2nd prize: Laurent van der Stockt (Le Monde) – The Old Town of Mosul: The Battle Against the Last Bastion of Daesh (Iraq)
- 3rd prize: Juan Barreto (AFP) – Venezuela: Anti-Government Protests (Venezuela)
Print Trophies (awarded by the Department of Calvados)
- 1st prize: Kenneth R. Rosen (Activist Magazine) – The Devil’s Henchmen (Iraq)
- 2nd prize: Wolfgang Bauer (ZEITmagazin International) – The Poison of War (Sudan)
- 3rd prize: Rukmini Callimachi (The New York Times) – The Daesh Method, or the Administration by Terror (Iraq)
Radio Trophies (awarded by the D-Day Landing Committee)
- 1st prize: Gwendoline Debono (Europe 1) – Neither Prisoners Nor Refugees: Jihadist Wives in Syria (Syria)
- 2nd prize: Julie Pietri (France Inter) – Rohingyas: The Hell of the Crossing (Bangladesh)
- 3rd prize: Martin Patience (BBC) – Surviving a Syrian Snowstorm (Lebanon)
Television Trophies (awarded by Amnesty International)
- 1st prize: : Nima Elbagir, Alex Platt and Raja Razek (CNN) – Libya Slave Auction (Libya)
- 2nd prize: Clive Myrie and Darren Conway (BBC) – Mexico’s Drug War (Mexico)
- 3rd prize: Jonathan Head and Daniel Bull (BBC) – Rohingya (Bangladesh)
Grand Format Television Trophy (awarded by SCAM)
- Nicolas Bertrand and Thomas Donzel (France 2) – Rohingyas: The Damned of Burma (Myanmar and Bangladesh)
Young Reporter Trophy – Photo (sponsored by Capa Presse TV)
- Mushfiqul Alam (freelancer) – The Great Exodus (Bangladesh)
Video Image Trophy – Television and Grand Format Television (sponsored by BEW TV, ARTE, France 24)
- Darren Conway (BBC) – Mexico’s Drug War (Mexico)
Regional Prize for Students and Trainees of Normandy – Television
- Stéphanie Perez, Nicolas Auer and Laetitia Niro (France 2) – Lion Cubs of the Caliphate: Time Bombs? (Iraq)
Ouest-France Jean Marin Prize – Print
- Jean-Philippe Remy (Le Monde) – Yemen at War (Yemen)
Public’s Choice Award – Photo (sponsored by the French Development Agency AFD)
- Paula Bronstein (Getty Images Reportage) – The Rohingya Crisis: A Harrowing Journey (Bangladesh)
“I am proud to be in Bayeux and to chair the international jury of the 25th Bayeux Calvados-Normandy Award for war correspondents,” – said Christiane Amanpour, chairman of the jury. – “The entries were extremely powerful and of a very high quality. It was a pleasure to watch them with my colleagues, discuss them, debate and vote.”
The winners of the first places received prizes ranging from EUR 3,000 to EUR 7,000.
Sergey Melnitchenko (Ukraine), Jordan Gale (USA), Anna T. Pfeiffer, and Ewa Doroszenko (both from Poland) have been selected by the DEBUTS jurors as their personal picks from the group of 20 winners of this year’s edition of the project awarding the most talented emerging photographers in the world.
One of the novelties of this year’s edition of DEBUTS is a personal pick by each juror. The members of the jury were asked to chose one submission they considered the best. Sergey Melnichenko from Ukraine, whose application was indicated by two jurors: Elviera Velghe, director of the Museum of Photography in Antwerp (Belgium), and Peter Bauza, a photographer-documentalist from Germany, can be considered the greatest DEBUTS laureate. Here is what they wrote in their justifications:
“The submission by Sergey Melnichenko is my personal favourite because the quality of each photo project is very high. The three projects are three times different. But it proofs to me that the photographer may vary, but still keeps his skills on top. The projects overwhelmed me by their atmosphere that grabs me by the throat. Every project shows a high original potential with beautiful, rich photography. In ‘Behind the Scenes’ the photographer gets us an insight of an emotional aspect of burlesque theatre. It is very intimate; gorgeous photos with extremal colours and contrasts. Even though the theme of ‘Passengers’ is not complicated, the photos keep stuck in my memory. In the last project ‘Polaroids from China Part II Monochromes’ every photo is a piece of art. I love the way the photographer approaches a topic with an adjusted photographic style. Sergey has a sharp photographic eye, sensitive enough to get the composition right, the contrasts good and excellent narrative photos.” (Elviera Velghe)
“It was not easy to review, score, and then narrow down all the many brilliant entries, with a high standard. But among the many impressive submissions for the DEBUTS contest this year, the artist of ‘Behind the Scenes,’ ‘Passengers’ and ‘Polaroids’ was able to maintain a style, a story, and a narrative. Sergey Melnichenko has a bright and above-average language and is able to express his emotions and feelings.” (Peter Bauza)
Sarker Protick, photographer and World Press Photo winner from Bangladesh, has recognised submission by Anna Pfeiffer, a Polish citizen living in Italy, as his favourite one. He wrote about it:
“An approach of Anna Pfeiffer to photography is smart, intelligent and playful at the same time. I am impressed by the quality of her portfolio which consists of three different projects, all having an effort to reinvent from one another while still having a strong personal attachment to the subject matters. These body of works also has interesting possibilities to present in many different forms of book and exhibitions.”
The favourite of Isabella van Marle of the Unseen Amsterdam festival is another Pole – Ewa Doroszenko. In her justification one can read:
“I have chosen Ewa Doroszenko’s proposal as my favourite because it was the most outstanding and surprising one. I find it very clever how the photographer translates criticism on society in an artistic manner. The projects are reflecting on the meaning of images in the digital age. New technologies such as virtual reality and beauty apps are shifting our perception of what nature and beauty are. The proposal has a clear message and is creatively constructed. ‘The Promise of Sublime Words’ is my aesthetical favourite.”
The DEBUTS originator and editor-in-chief of doc! photo magazine quarterly, Grzegorz Kosmala, pointed to the application of Jordan Gale from the USA, about which he wrote:
“I am very impressed by the applications for this year’s edition of DEBUTS. Choosing the one was really difficult. My favourite is Jordan Gale, who although submitted only one project, delighted me with the sincerity of speech and the way of conducting his narrative. It takes a lot of courage to talk about yourself and your loved ones in this way, especially when their past is marked by dark episodes. The more I appreciate the fact that Jordan has allowed us into his world. His project is not only a story about the family, but also a picture of the contemporary American province.”
The laureates of the fifth edition of DEBUTS are: Kirsten Leah Bitzer (USA), Michele Crameri (Switzerland), Ilaria Di Biagio (Italy), Ewa Doroszenko (Poland), Jean-Félix Fayolle (France), Jordan Gale (USA), Ilias Georgiadis (Greece), Mirek Kaźmierczak (Poland), Paweł Łączny (Poland), Raj Lalwani (India), Camille Lévêque (France), Sergey Melnitchenko (Ukraine), Filippo M. Nicoletti (Italy), Valentyn Odnoviun (Lithuania), Anna T. Pfeiffer (Poland/Italy), Natalia Poniatowska (Poland/United Kingdom), Sergey Stroitelev (Russia), Gihan Tubbeh (Peru), Federico Vespignani (Italy), and Adam Wilkoszarski (Poland).
The first presentation of works of all DEBUTS winners and the premiere of the book will take place traditionally during the International Festival of Photography FOTOFESTIWAL in Łódź (Poland), which starts on June 21 and will last until July 1, 2018.
The communism era is marked by surprising amnesia. Even though we can still feel the breath of the days before the political transformation of the post-Soviet countries of the last 28 years, we are reluctant to admit this. Moreover, we consider this as some shameful family secret. But it is true that, as in the case of every era, post-communist modern times need a reference point in order to be defined.
In the post-Soviet part of Europe, the real socialism works as the above mentioned reference point. Its reality feels constantly present in political, sociological and philosophical discourse, but we rarely admit its presence in our daily life, despite the fact that it is noticeable everywhere. Its traces remain perceptible; tangible not only through the Palace of Culture and Science discreetly overshadowed by modern constructions in the very centre of Warsaw. It is worth looking for those traces everywhere as without them the image of our contemporary reality will remain incomplete and difficult to comprehend.
The Open Programme of the 2017 Warsaw Photo Days will attempt to take a closer look at the mentality and culture of the post-Soviet countries both in the past and the present. Although it has been years since Polish perception turned from east to west, one cannot deny that totalitarian communist system – in its material and spiritual entirety – has profoundly influenced modern generations. This is undoubtedly one of the sources of the hybridity of contemporary culture, torn between the past (Homo Sovieticus) and the present (Post Sovieticus) – built as contradiction of what is seemingly long past.
The traces of the past (to be found in people and places today) are an interesting field for authoring the subject, but also to remind the viewers of important historical photographs illustrating the shape of the past world.
They are also what should inspire younger generations – as an aspect often pushed into oblivion, yet one which contributes to modern consciousness, a specific synthesis of the memory of the past and the image of the present.
The 2017 Warsaw Photo Days Open Call for photographic and multimedia projects discussing the POST SOVIETICUS topic lasts until October 30, 2017 (11.59 PM CET).
More info @ www.warsawphotodays.com
Warsaw Photo Days
@ Warsaw (Poland)
November 17 – December 15, 2017
The 2017 Warsaw Photo Days is organised under doc! photo magazine patronage.
Are we alone? Are we being watched? Who created us and what is the purpose of our lives? Is there a God or do we live in the Matrix? Or maybe we are just an outcome of the aliens’ experiment? Artists from all over the world are now invited to try to answer these questions.
There have been thousands of files on UFO phenomena collected by governments around the world. Countless amount of documents, researches, videos, photographs, sketches, scientific and sci-fi books and movies, but also artistic interpretations of this topic have been created. There is an ongoing discussion between people who believe and people who don’t believe in extraterrestrial life; not forgetting about various movements uniting people who explain the development of human civilisations (paleo-astronautics) as well as beginnings of main religions in alien activities. So many passionate researchers devote their lives to solve the mystery of UFO; the outcome of their work seems to be underestimated by the society.
#SHOWMEYOURUFO is a new project exploring the UFO phenomena – topic that has always been mysterious and appealing to people around the world. Creators of the concept want to join forces with researches and artists from all over the world to create an archive of contemporary visual representations related to UFO and alien conspiracy theories.
Organisers expect works related to the UFO’s topic or it’s visual language, mainly stories and documentations of sightings, or portraits of abductees/witnesses. Regarding the media – it could be photographs, drawings, clippings, short videos or sounds.
To apply, artists need to simply upload the artworks on Tumblr, Instagram or YouTube and add the #SHOWMEYOURUFO hashtag, or submit them to the email address: firstname.lastname@example.org. There are no age, number of photos per person or nationality restrictions. Artworks in low resolution (72 dpi) should be accompanied by the participants name, surname, website and contact details. Work must be created by the submitting artist.
The most interesting evidence will be presented during upcoming show in Cracow (Poland) and also published on the showmeyourufo.tumblr.com website. Selected files will be featured in the accompanying zine published on this occasion.
The #SHOWMEYOURUFO project is organised under doc! photo magazine patronage.
Next to the renowned press photography contest, the World Press Photo Foundation also runs a competition focused on digital storytelling. The contest, previously known as the Multimedia Contest, rewards those producing the best forms of visual journalism enabled by digital technologies and the spread of the Internet. The contest is open to digital storytellers, visual journalists and producers, with submissions that include the work of a professional visual journalist.
“This year, the entries in the Immersive Digital Storytelling Category were very strong, diverse and ambitious,” – says Katerina Cizek, chair of the Immersive Storytelling category. – “The projects also ranged widely in scale and scope. Because of this, the jury deliberated on how to weigh and balance the diverse qualities of the projects, and agreed on the criteria of: excellence in visual storytelling, importance and originality of reporting, innovation in immersivity and depth of social relevance. We ultimately agreed upon three winners, who each excel in their own ways, exemplifying distinct developments in our emerging field.”
“This is a rapidly evolving media format in its early stages,” – adds DJ Clark, chair of the Short Form category. – “We need people to push the boundaries and experiment. It won’t always work, but when it does, it stands out.”
Winners of the 2017 World Press Photo Digital Storytelling Contest are:
1. The Dig
Synopsis: You know how you feel about politics, religion, and other issues, but do you know how you feel about the changing landscape of human relationships? Things like trans-sexuality, co-parenting and cyborgs, to name a few. The Dig explores the future of relationships using interactive audiovisual elements, placing the viewer at the centre of the experience to explore and discover their own feelings in this world of rapidly transforming human relations. Piece by piece, a couple’s relationship jigsaw is revealed. The more elements you see, the more you know. In the end, you can decide what you think the couple should do, and in doing so you learn something about yourself. The stories of simple questions about complex problems are told through beautiful cinematography and frank interviews with the people involved.
Topaz Adizes, Executive Director, Creative Director
Mike Knowlton, Executive Director, Creative Director, Creative Technologist
Carla Tramullas, Creative Director, UX Designer
Julia Gorbach, Creative Director
Mark Harris, Creative Director, Creative Technologist
Joe Wheeler, UX Designer
Olivier H. Beauchesne, Data Visualisation
Julia Gorbach, Director, Producer, Additional Camera & Sound
Carla Tramullas, Director, Cinematographer
Dane Benko, Editor
Nicholas D’Agostino, Editor
Mériem Dehbi-Talbot, Associate Producer
Grace Larkin, Associate Producer
Julius Bowditch, Associate Producer
Paige Polk, Associate Producer
Hans Lueders, Associate Producer
The Skin Deep + Murmur
2. The Fine Line: Simone Biles Gymnastics (Team: Rodrigo de Benito Sanz, Producer; Alicia DeSantis, Producer; Alexandra Garcia, Producer, Video Editor; Mika Gröndahl, Producer, Graphics; Evan Grothjan, Producer, Graphics; Taige Jensen, Producer, Video Editor, Color, Audio; Yuliyah Parshina-Kottas, Producer, Graphics; Bedel Saget, Producer, Reporter, Videographer; Joe Ward, Producer, Reporter, Videographer; Larry Buchanan, Reporter, Videographer; Leslye Davis, Reporter, Videographer, Photographer; Juliet Macur, Reporter; Meghean Felling, Video Editor; Ben Laffin, Color; Jeremy White, Graphics; Michael Cordero, Audio; Gregg Matthews, Photographer; Wilson Andrews, Contributing Producer; Danny DeBelius, Contributing Producer; Alexandra Eaton, Contributing Producer; Grant Gold, Contributing Producer; Steve Duenes, Supervising Producer. Organisation: The New York Times)
3. The Injustice System (Team:Ed Pilkington, Chief Reporter; Laurence Mathieu-Leger, Senior Video Producer; Kenan Davis, Interactive Editor; Rich Harris, Interactive Editor; Nadja Popovich, Interactive Editor; Kenton Powell, Interactive Editor. Organisation: The Guardian US)
Synopsis: A generation ago, globalisation shrank the world. Nations linked by trade and technology began to erase old boundaries. But now barriers are rising again, driven by waves of migration, spillover from wars and the growing threat of terrorism. To examine this global phenomenon, the Washington Post produced Raising Barriers, a three-part multimedia project that takes viewers to 8 countries across 3 continents exploring the divisions between countries and peoples.
Zoeann Murphy, Video Reporter
Anthony Faiola, Berlin Bureau Chief
Reem Akkad, Senior Video Producer
Kat Downs Mulder, Graphics Director
Kevin Schaul, Graphics Editor
Douglas Jehl, Foreign Editor
Samuel Granados, Senior Graphics Editor
The Washington Post
2. The Waypoint (Team: Zoeann Murphy, Video Reporter; Samuel Granados, Senior Graphics Editor; Emily Chow, Assignment Editor, Story Design; Kevin Schaul, Graphics Editor; Kat Downs, Graphics Director; Griff Witte, London Bureau Chief. Organisation: The Washington Post)
3. Future Cities (Team: Yvonne Brandwijk, Director, Photographer, Video; Stephanie Bakker, Director, Writer, Reporter; Maaike Holvast, Video Editor; Sara Kolster, Interactive Design; Martijn Pantlin, Development; Hay Kranen, Development; Edgar Vijgeboom, Development; Casper van Deuveren, Sound Design; Ivo Schmetz, Visual Design. Organisation: Future Cities)
Synopsis: In 2012, 17-year-old Claressa ‘T-Rex’ Shields from Flint (MI, USA) became the first woman ever to win the gold medal in Olympic boxing. This short film picks up with Claressa in 2015. She’s still living in Flint and has received no sponsorships or endorsements from her historic victory in the 2012 London Olympics. Now she’s faced with a difficult decision: does she continue on with how things are and hope for the best or does she leave behind her family, her gym and everything she knows in pursuit of her career?
Zackary Canepari, Director
Carter Gunn, Editor
Christopher ISenberg, Producer
Christopher Gary, Producer
Drea Cooper, Producer
Sue Jaye Johnson, Producer, Cinematography, Additional Interviews
Sophia Rose, Cinematography
Jessica Dimmock, Cinematography
Mo Scarpelli, Cinematography
Matthew Joynt, Original Music
Nate Sandberg, Original Music
Gregg White, Coloring
Brian Susko, Sound Mix
Lindsey Phillips, Additional Editing
Co-produced by Great Big Story and Victory Journal
2. Trapped (Team: Nikos Pilos, Producer, Journalist, Videographer and Director; Arsinoi Pilou, Second Unit Camera; Natasha Blatsiou, Script; Pantelis Liakopoulos, Video Editor; Orestis Kamperidis, Music Sound Designer)
3. How China Is Changing Your Internet (Team: Jonah Kessel, Director, Writer, Video, Graphics, Editing; Paul Mozur, Writer, Video, Graphics, Editing; Sarah Li, Production Assistance. Organisation: The New York Times)
Synopsis: Chester (PA, USA), a small town in the United States just south of the city of brotherly love, has a rich history and strong African American heritage that dates back to the 1600’s. In the early 1960’s, the town experienced an industrial collapse and the subsequent economic meltdown still affects residents of Chester today. The domino effect of pervasive socio-economic issues and a long history of government corruption have revealed a microcosm of the structural inequalities that plague American society. In the 1980’s, the local governmental bodies around Chester redrew the zoning maps, effectively excluding the city from the surrounding affluent, predominately white, school districts. This exclusivity forced countless budget cuts causing seven educational bodies to close in Chester since 2000. In 2013, the school district’s graduation rate was 56 percent, a stark contrast to the national average. This predominantly African American populated city, where education is not adequately available, has a murder rate 18 times the national average. While Chester has one of the nation’s highest homicide rates, it has a far lower-than-average clearance rate. Chester has become a place where you can get away with murder. When the Spirit Moves explores the parallels between a lack of education for youth and the ever-rising crime rate in Chester. It is determined to disprove the popular perception of Chester. This is not a forgotten town. These lives are not expendable and Chester is not a place where you can get away with murder.
Justin Maxon, Director, Cinematographer
Jared Moossy, Director, Cinematographer
This year, 282 productions were submitted to the contest: 135 Short Form, 54 Long Form, 62 Immersive Storytelling and 31 Innovative Storytelling.
Winners in each category will receive a diploma and a Golden Eye Award, presented during the annual Awards Ceremony. The prize-winning projects are assembled into an exhibition that travels to selected locations.
More info and gallery of all the winners @ www.worldpressphoto.org
The World Press Photo Foundation announced the winners of the 60th annual World Press Photo Contest.
The World Press Photo of the Year honours the photographer whose visual creativity and skills made a picture that captures or represents an event or issue of great journalistic importance in the last year.
Burhan Ozbilici’s picture (which also won first prize in the Spot News – Stories category) shows how Mevlüt Mert Altıntaş, a 22-year-old off-duty police officer, assassinated the Russian ambassador to Turkey, Andrey Karlov, at an art exhibition in Ankara (Turkey) on December 19, 2016. Altıntaş wounded three other people before being killed by officers in a shootout. Ozbilici is a staff photographer for The Associated Press, based in Istanbul.
“It was a very, very difficult decision, but in the end we felt that the Picture of the Year was an explosive image that really spoke to the hatred of our times,” – says Mary F. Calvert, member of the jury, about the winning photograph. – “Every time it came on the screen you almost had to move back because it’s such an explosive image and we really felt that it epitomises the definition of what the World Press Photo of the Year is and means.”
“Right now I see the world marching towards the edge of an abyss,” – says João Silva, member of the jury. – “This is a man who has clearly reached a breaking point and his statement is to assassinate someone who he really blames, a country that he blames, for what is going on elsewhere in the region. I feel that what is happening in Europe, what is happening in America, what is happening in the Far East, Middle East, Syria, and this image to me talks of it. It is the face of hatred.”
The 2017 contest drew entries from around the world: 5,034 photographers from 125 countries submitted 80,408 images. The jury gave prizes in eight categories to 45 photographers from 25 countries: Australia, Brazil, Canada, Chile, China, Czech Republic, Finland, France, Germany, Hungary, India, Iran, Italy, Pakistan, Philippines, Romania, Russia, South Africa, Spain, Sweden, Syria, New Zealand, Turkey, UK and USA.
“It was a very intense, sometimes brutal, discussion, sometimes even emotional, but I feel proud,” – says Tanya Habjouqa, member of the jury, about this year’s winners. – “I think we were brave in our decision. We were bold. I think the selection is definitely going to push forward a debate and I think it is a debate that is essential to have.”
The 2017 World Press Photo winners are:
WORLD PRESS PHOTO OF THE YEAR
Burhan Ozbilici (Turkey) | The Associated Press
CONTEMPORARY ISSUES – Singles
1. Jonathan Bachman (USA) | Thomson Reuters
2. Vadim Ghirda (Romania) | The Associated Press
3. Daniel Etter (Germany)
CONTEMPORARY ISSUES – Stories
1. Amber Bracken (Canada)
2. Lalo de Almeida (Brazil) for Folha de São Paulo
3. Peter Bauza (Germany; doc! vol. Q3 #38)
DAILY LIFE – Singles
1. Paula Bronstein (USA) for Time Lightbox | Pulitzer Centre for Crisis Reporting
2. Tiejun Wang (China)
3. Matthieu Paley (France) for National Geographic Magazine
DAILY LIFE – Stories
1. Tomas Munita (Chile) for The New York Time
2. Elena Anosova (Russia)
3. Francesco Comello (Italy)
GENERAL NEWS – Singles
1. Laurent Van der Stockt (France) | Getty Reportage for Le Monde
2. Santi Palacios (Spain)
3. Noel Celis (Philippines) | Agence France-Presse
GENERAL NEWS – Stories
1. Daniel Berehulak (Australia) for The New York Times
2. Sergey Ponomarev (Russia) for The New York Times
3. Alessio Romenzi (Italy)
1. Valery Melnikov (Russia) | Rossiya Segodnya
2. Hossein Fatemi (Iran) | Panos Pictures
3. Markus Jokela (Finland) | Helsingin Sanomat
NATURE – Singles
1. Francis Pérez (Spain)
2. Nayan Khanolkar (India)
3. Jaime Rojo (Spain)
NATURE – Stories
1. Brent Stirton (South Africa) | Getty Images for National Geographic Magazine
2. Ami Vitale (USA) for National Geographic Magazine
3. Bence Máté (Hungary)
PEOPLE – Singles
1. Magnus Wennman (Sweden) | Aftonbladet
2. Robin Hammond (New Zealand) | NOOR Images for Witness Change
3. Kristina Kormilitsyna (Russia) | Kommersant
PEOPLE – Stories
1. Michael Vince Kim (USA)
2. Antonio Gibotta (Italy) | Agenzia Controluce
3. Jay Clendenin (USA) | Los Angeles Times
SPORTS – Singles
1. Tom Jenkins (United Kingdom) | The Guardian
2. Cameron Spencer (Australia) | Getty Images
3. Kai Oliver Pfaffenbach (Germany) | Thomson Reuters
SPORTS – Stories
1. Giovanni Capriotti (Italy)
2. Michael Hanke (the Czech Republic)
3. Darren Calabrese (Canada)
SPOT NEWS – Singles
1. Jamal Taraqai (Pakistan) | European Pressphoto Agency
2. Abd Doumany (Syria) | Agence France-Presse
3. Felipe Dana (Brazil) | The Associated Press
SPOT NEWS – Stories
1. Burhan Ozbilici (Turkey) | The Associated Press
2. Ameer Alhalbi (Syria) | Agence France-Presse
3. Mathieu Willcocks (United Kingdom)
The premier award, the World Press Photo of the Year, carries a cash prize of 10,000 euros. In addition, Canon will present the winning photographer with a selection of camera equipment. Award winners have their travel and lodging paid for by the World Press Photo Foundation to Amsterdam so they can attend the World Press Photo Festival, an event taking place 20-22 April featuring photographer presentations, screenings, and talks. They also receive a diploma and a Golden Eye Award at the Awards Ceremony.
The prize-winning photographs are assembled into an exhibition that travels to 45 countries and is seen by more than 4 million people each year. The winning pictures are also published in the annual yearbook, which is available in multiple languages. The first World Press Photo exhibition opens in De Nieuwe Kerk, Amsterdam, on April 14, 2017.
More info and images @ www.worldpressphoto.org
The upcoming 7th International Documentary Film Festival HumanDOC is a three-day-long event during which 18 films telling stories from different places in the world will be screened. Next to the films, unusual atmosphere of the event will be created by the meetings with socially involved directors and reporters. The festival programme also includes artist talks as well as debates on contemporary challenges.
Undoubtedly, in the times of migration, one of them is to ensure solidarity crossing national boundaries. One of the festival categories – Different Faces of Migration – is devoted to this problem. The category includes 6 films presenting different stages of the journey and confronting dreams with the reality faced in Europe: The Crossing (directed by George Kurian, Norway 2015, 55 min), Crossing Hell: Anything to Get to Europe (directed by Olivier Azpitarte, Claire Billet, Paul Comiti, Camille Courcy and Olivier Jobard, France 2013, 90 min), A Requiem for Syrian Refugees (directed by Richard Wolf, USA 2014, 71 min), A Syrian Love Story (directed by Sean McAllister, UK 2015, 76 min), The Great Wall (directed by Tadhg O’Suvillan, Ireland 2015, 74 min) and On the Bride’s Side (directed by Antonio Augugliaro, Gabriele Del Grande and Khaled Soliman Al Nassiry, Italy/Palestine 2014, 98 min).
Winners of the HumanDOC Proclub Camera photo contest will be announced during the festival and the winning photos will be presented in Kinoteka, the festival main cinema. Additional screenings will be organised in the Staromiejski Dom Kultury, while the selected films will be available on the web film platform IPLA (only on Polish territory).
The 7th International Documentary Film Festival HumanDOC is co-financed within the Ministry of Foreign Affairs’ Polish Development Cooperation Programme.
The detailed programme of the festival is available @ www.festival.humandoc.pl
7th International Documentary Film Festival HumanDOC
@ Kinoteka (Palace of Culture and Science, 1 Defilad Sq., Warsaw, Poland)
November 25-27, 2016
The 7th International Documentary Film Festival HumanDOC is organised under doc! photo magazine patronage.
The international photography competition POPCAP announced the winners of its 5th anniversary edition. The award aims to foster interest in and support for contemporary African photography. This year’s winners were chosen by an international panel of 20 renowned judges from 900 applications from 94 countries. The winning artists and their projects will be presented at a series of international exhibitions. They are also invited to take part in an artists’ residency program.
The winners and their projects:
Nicolas Henry (b. 1978) | based in Les Mesnuls (France) – African Tales from Today (2012–2014)
African Tales from Today is a set of photographs taken with communities in Africa (Ethiopia, Rwanda, Madagascar and Namibia) and in the African communities living in the suburb of Paris (France). The project is close to a traveling theatre. The tales talk about Africa. The scenes are made with objects found on site. The scenography is set up with the local community in order to evoke the narrative seen in the image. Each story is decided and shared as a commitment of models. The photographic moment is similar to a theatre because many people come to attend this “performance” , the eye of the audience creates a new dialogue. The unified group expresses not only its vision to the world, but tries to share it with its own community too.
Jason Larkin (b. 1979) | based in London (United Kingdom) – Waiting (2013–2015)
“While living in Johannesburg, I was struck by the ever-present reality of people waiting. Inactive yet expectant, this condition becomes a visual echo of the predicament that many South Africans can find themselves in. Though many wait alone, the amount of people waiting becomes a collective, city-wide experience,” – says Jason Larkin. – “Visually I was drawn to those seeking shelter from the harsh summer sun by positioning themselves in the shade. Figures here occupy ephemeral spaces of respite created by the surrounding urban environment. These shadows remove the individuals’ identities, leaving only the subtlety of posture and the details of place. With only the waiting period accompanying each image, the purpose or possible outcomes of these situations is unclear. We are left to meditate on the temporality of these individual situations and the indirect connections that waiting creates across society.”
Sabelo Mlangeni (b. 1980) | based in Johannesburg (South Africa) – Isivumelwano: An Agreement (2003–2014)
“The first time I used a camera was for a wedding in 1997,” – says Sabelo Mlangeni (doc! #34). – “I did not get a chance to see the photographs because the bride picked them up straight from the lab. ‘Isivumelwano: An Agreement’ is an attempt to reconstruct these images looking at how an event about the love between two people becomes a community event.”
The project started in South African townships and continued with an exploration of wedding ceremonies in the capital cities of Lesotho, Mozambique and Swaziland. The resulting body of work focuses on the beauty and ornate nature of these ceremonies as well as the traditions and attire that embrace the adaptability of cultures in today’s African cities. Wedding ceremonies in black Southern African cultures are significant gatherings, often with more than one day of celebrations. The work looks at the way Southern African cultures have been adapted over the years looking particularly at the amalgamation of African cultural practices and Western white wedding rituals seen predominantly in metropolises.
Thom Pierce (b. 1978) | based in Cape Town (South Africa) – The Price of Gold (2015)
Over a period of 20 days in September and October 2015, Thom Pierce traveled around South Africa’s Eastern Cape, into Lesotho and up to Johannesburg to find and photograph 56 sick miners and widows named in a class action lawsuit against 32 gold mining companies in South Africa, lodged on behalf of all miners suffering from Silicosis or Pulmonary Tuberculosis (TB) as a result of working in the gold mines. The photographs were displayed in the building next door to the courtroom in Johannesburg at the time of the case in October 2015. This was done as a piece of advocacy, to put a human face to the often stark and detached courtroom proceedings.
Silicosis is a preventable but incurable lung disease that is contracted in the gold mines through inadequate protection from silica dust. Miners who contract silicosis get tired and out of breath quickly and are prone to lung infections, respiratory failure and TB. Most miners who became sick were sent home with little or no compensation and no hope of finding further employment.
Julia Runge (b. 1990) | based in Berlin (Germany) – Basterland (2015)
100 years after the Rehoboth Basters rose up against their German colonisers, the Basterland series takes up the task of providing a multifaceted insight into the contemporary life of the ethnic group living in Namibia today. It is a portrait of a society that seems to find itself in an “in-between“ amid tradition and change. The series reminds us a forgotten episode of German colonial history. The name Baster (Afrikaans for German bastards) may seem a little pejorative. But the Baster community gave it themselves because it reminds them of their heritage and emergence. The Basters are the offspring of the union between European settlers and their indigenous Khoisan slaves during the colonial period in the 18th century. During the South African colonisation, the Basters became a more and more unwanted and stigmatised group. Since Namibia’s independence in 1990, the Basters are the only traditional grouping in Namibia with no special legal status and to this day they fight for their acceptance and recognition in society.
Visit POPCAP website @ www.popcap.cc for more information.
The POPCAP’16 was organised under doc! photo magazine patronage.
The jury of the 59th annual World Press Photo Contest has selected an image by Australian photographer Warren Richardson as the World Press Photo of the Year 2015.
The World Press Photo of the Year honours the photographer whose visual creativity and skills made a picture that captures or represents an event or issue of great journalistic importance in the last year.
Richardson’s picture – which also won first prize in the Spot News category – shows refugees crossing the border from Serbia into Hungary, near Horgoš (Serbia) and Röszke (Hungary). Taken at night on August 28, 2015, this man and child were part of the movement of people seeking to cross into Hungary before a secure fence on the border was completed.
“I camped with the refugees for five days on the border” – Warren Richardson says about the winning picture. – “A group of about 200 people arrived, and they moved under the trees along the fence line. They sent women and children, then fathers and elderly men first. I must have been with this crew for about five hours and we played cat and mouse with the police the whole night. I was exhausted by the time I took the picture. It was around three o’clock in the morning and you can’t use a flash while the police are trying to find these people, because I would just give them away. So I had to use the moonlight alone.”
Francis Kohn, chair of the general jury and photo director of Agence France-Presse, adds: “Early on we looked at this photo and we knew it was an important one. It had such power because of its simplicity, especially the symbolism of the barbed wire. We thought it had almost everything in there to give a strong visual of what’s happening with the refugees. I think it’s a very classical photo, and at the same time it’s timeless. It portrays a situation, but the way it’s done is classic in the greatest sense of the word.”
Lars Boering, managing director of the World Press Photo Foundation, summarises this year’s contest: “This year we had more photographers and more entries than ever in our contest and we see this as a great support of the industry. As an organisation, we are delighted by the outcome this independent jury produced, and ready to present an exhibition of wonderful and powerful imagery to a global audience that can trust what they see. We see that the photographers are as committed as we are to providing accurate and fair images on the world’s most important events and issues. We had a new code of ethics for the photo contest and a transparent and rigorous verification process. This resulted in many more entries being checked, but fewer problems than last year being found.”
The 2016 contest drew entries from around the world: 5,775 photographers from 128 countries submitted 82,951 images. The jury gave prizes in 8 categories to 41 photographers from 21 countries: Australia, Austria, Brazil, Canada, China, France, Germany, Iran, Italy, Japan, Mexico, Portugal, Russia, Slovenia, South Africa, Spain, Sweden, Switzerland, Syria, Turkey and the USA.
Full list of the 2016 World Press Photo’s winners (in alphabetic order):
- Sameer Al-Doumy (1st prize @ Spot News stories category)
- Daniel Berehulak (1st prize @ Daly Life stories & 3rd prize @ General News stories categories)
- Christian Bobst (2nd prize @ Sports stories category)
- Nancy Borowick (2nd prize @ Longterm Project category)
- Mary F. Calvert (1st prize @ Longterm Project category)
- Mário Cruz (1st prize @ Contemporary Issues stories category)
- Abd Doumany (2nd prize @ General News stories category)
- Kevin Frayer (1st prize @ Daily Life singles & 2nd prize @ Daily Life stories category)
- Corentin Fohlen (2nd prize @ Spot News singles category)
- David Guttenfelder (3rd prize @ Longterm Project category)
- Niclas Hammarström (3rd prize @ Spot News singles category)
- Paul Hansen (2nd prize @ General News singles category)
- Chen Jie (3rd prize @ General News singles category)
- Rohan Kelly (1st prize @ Nature singles category)
- Bulent Kilic (3rd prize @ Spot News stories category)
- John J. Kim (3rd prize @ Contemporary Issues singles category)
- Matjaz Krivic (2nd prize @ People singles category)
- Tim Laman (1st prize @ Nature stories category)
- Zhang Lei (1st prize @ Contemporary Issues singles category)
- Sara Naomi Lewkowicz (3rd prize @ Contemporary Issues stories category)
- Jonas Lindkvist (3rd prize @ Sports singles category)
- Mauricio Lima (2nd prize @ Daily Life singles & 1st prize @ General News singles categories)
- Sebastián Liste (3rd prize @ Daily Life stories category)
- Dario Mitidieri (3rd prize @ People singles category)
- Greg Nelson (2nd prize @ Sports singles category)
- Kazuma Obara (1st prize @ People stories category)
- Daniel Ochoa de Olza (2nd prize @ People stories & 3rd prize @ People stories category)
- Adriane Ohanesian (2nd prize @ Contemporary Issues singles category)
- Anuar Patjane Floriuk (2nd prize @ Nature singles category)
- Vladimir Pesnya (1st prize @ Sports stories category)
- Sergey Ponomarev (1st prize @ General News stories category)
- Warren Richardson (World Press Photo of the Year 2015 & 1st prize @ Spot News singles category)
- Zohreh Saberi (3rd prize @ Daily Life singles category)
- Roberto Schmidt (2nd prize @ Spot News stories category)
- Brent Stirton (2nd prize @ Nature stories category)
- Sergio Tapiro (3rd prize @ Nature singles category)
- Tara Todras-Whitehill (3rd prize @ Sports stories category)
- Christian Walgram (1st prize @ Sports singles category)
- Christian Ziegler (3rd prize @ Nature stories category)
- Francesco Zizola (doc! #7; 2nd prize @ Contemporary Stories category)
- Matic Zorman (1st prize @ People singles category)
The premier award, the World Press Photo of the Year, carries a cash prize of EUR 10,000. In addition, Canon will present the winning photographer with the recently launched Canon EOS-1D X Mark II camera and lens kit. All winners of the second and third prizes receive a Golden Eye Award, a diploma and travel plus lodging expenses to attend the Awards Days. The Awards Days are a two-day gathering of industry participants and celebration of the prizewinners held in Amsterdam on April 22-23, 2016.
See all the winning images and series @ World Press Photo website.
19 photographers from Poland and abroad have been awarded during the 5th edition of Leica Street Photo contest organised by Leica Camera Poland. After tempestous discussion, the jury decided to reward the following photographers: Wojciech Abramczyk, Ieva Aust, Maciek Dakowicz (doc! #12), Tytus Grodzicki (doc! #14), Martyna Heller, Maciek Jaźwiecki, Kuba Kamiński, Filip Klimaszewski (doc! #1 & #29/30), Ania Kłosek, Magda Kryjak, Tymon Markowski, Jacek Obloj, Michał Pachniewski, Michał Patycki, Igor Pisuk (DEBUTS 2014), Artur Pławski, Stepan Rudik, Jacek Szust and Krzysztof Wójcik.
They photographed fleeting moments, people and their interesting faces, funny repetition, rhythm, forms and light. Their photographs may be used as an illustration for the Elliott Erwitt’s quote: “To me, photography is an art of observation. It’s about finding something interesting in an ordinary place… I’ve found it has little to do with the things you see and everything to do with the way you see them.”
See the all winning works at the exhibition in Leica Gallery Warsaw (3 Mysia St., Warsaw, Poland). The awarding ceremony and exhibition opening on September 4 at 7:30 PM. The exhibition will be open to the public until October 18, 2015.
The Leica Street Photo contest and exhibition are organised under doc! photo magazine patronage.