Getty Images’ John Moore, Aristide Economopoulos, Lisa Krantz, Kerry Mansfield and Jassen Todorov are among the dozens of photographers to have been short-listed for the competition’s 2015 edition.
Ed Kashi has won Multimedia Photographer of the Year honors at the 2015 Pictures of the Year International competition for his project called Syria’s Lost Generation, while Tim Matsui won Documentary Project of the Year for The Long Night, a film he produced with MediaStorm about teenage prostitution.
Recently on tumblr, Melissa Lyttle reflected on her experience as a judge for this year’s POYi contest news division. She writes about the overall experience of judging the contest and gives more fine-grained observations about specific categories and trends in submissions. It’s well worth a read.
The fifth annual contest highlights the photographer’s 18-month commitment to a horrific story forgotten by most media
Li Qiang, a veteran Chinese photojournalist, helps his country score the photo industry’s most prestigious awards
Announcing the Feature Shoot Emerging Photography Award Winners: Jiehao Su, Sebastian Collett and Ayumi Tanaka
We are excited to announce the three winners of the inaugural Feature Shoot Emerging Photography Awards! We reviewed over 2,000 submissions from all over the world in the categories of portraits, fine art and documentary. Our esteemed jury choose Jiehao Su‘s Borderland to receive the Grand Prize; Sebastian Collett was selected for his Vanishing Point series, and Ayumi Tanaka was chosen for her series Wish You Were Here.
That’s a pretty serious offence. So it would appear that 20% of the cream of the crop of the world’s photojournalists who made it through to the finals of the WPP are in serious breach of their code of professional ethics as a consequence of entering, and being ‘found out’. Breaching their ‘hippocratic oath’ for want of a better description.
According to World Press Photo managing director Lars Boering, the organization is not currently planning to ban any photographers who submitted manipulated images to the competition. “I might discuss that with the board and the team that is organizing the competition,” he told PDN, adding that “a lot” of the disqualified photos were cases of “clumsy” Photoshop use rather than blatant attempts to deceive competition judges.
Gerd Ludwig has won the 2015 POYi Best Photo Book of the Year honors for The Long Shadow of Chernobyl, his book about the lingering environmental, social, and economic consequences of the 1986 Chernobyl nuclear disaster. The award, part of the Reportage Division of the POYi competition, was announced on the POYi web site.
Bravo to World Press Photo for taking a leadership role in the debate of what levels of image enhancements, adjustments and manipulation are acceptable for photojournalism. As the winners of this years contest were announced the news that 20% of images that made the final round were rejected for “manipulation or careless post-processing” left many people with jaws agape.
Australian photographer Daniel Berehulak of Getty Images has won Photographer of the Year honors in the Reportage Division of the 72nd annual Pictures of the Year International (POYi) competition, which is currently underway at the University of Missouri in Columbia. Paul Hansen of Sweden and Daniel Rodrigues of Portugal were the first and second runners up, respectively.
One can’t help speculate whether this apparent tendency to a move from spot news photos to more feature-like images might be connected to the fact that cell phones and modern photo equipment makes everyone a news photographer these days
Judging POYi is such a unique experience that I wanted to share some thoughts and insights with you.
You can talk about a photo in terms of what you believe it generally reflects or you can be more rigorous and address its content and nuances in a more specific way. In this case – and to the credit of the World Press Photo of the Year – a more careful reading of the picture reveals Mad Nissen’s photograph, “Jon and Alex,” as that much more powerful a choice.
Boring. Blaaaaah. That is the first word that comes to mind when looking at the winner of the World Press Award, circa 2015. Don’t get me wrong, this year’s committee, led by Michele McNally, probably the best photo editor of our generation, was full of talent. But it was just that, a committee. And time and time again, we have learned that nothing of quality comes out of a committee’s decision.
Given that the detection of manipulation in 2014 and 2015 occurred in different rounds, it’s impossible to tell whether there has been an aggregate increase, but a few key issues remain:
I think most would agree that “material addition or subtraction” from a still frame is a blatant affront to viewers and to the truth. We should all be alarmed that twenty percent of final-round images had some element of outright fabrication
“You know, for years, you go on assignments, on missions. You are away for weeks, months. Sometimes you have no shower, no sleep, no food. Sometimes you risk your life. It’s good to know that someone recognises that, recognises the work.”
For the second year in a row, World Press Photo’s judges gave their top prize to an image from the contemporary issues category, bypassing news images from the conflict in Ukraine, the Ebola crisis in Sierra Leone and protests in Turkey.
“You don’t have to go to Africa or Ukraine to take a great photo”