Some of the winning entries in this year’s annual photo competition
The winning entries of the annual World Press Photo Contest have just been announced. This year, according to organizers, 74,470 images were submitted for judging, made by 4,315 photographers from 130 different countries. Winners in eight categories were announced, including Contemporary Issues, Environment, General News, Long-Term Projects, Nature, Portraits, Sports, and Spot News. World Press Photo has once more been kind enough to allow me to share some of this year’s winning photos here with you.
The results of the 64th edition of World Press Photo were announced on April 15. Six nominees were in the running for the prestigious and coveted world photo of the year. The World Press Photo of the Year was awarded to Mads Nissen for his photograph of a
The best images captured by international photojournalists.
The World Press Photo of the Year is designed to honor a photographer whose visual creativity and skills combined to create a picture that captures or represents an event or issue of great journalistic importance in a given year. This year, there is likely no larger story than the COVID-19 pandemic, and a photo by Mads Nissen — a photographer from Denmark — titled The First Embrace took top honors. His photo was also the winner of the “General News” category.
The World Press Photo Foundation has announced the nominees for its 2021 contest featuring 45 photographers from 28 countries. Though all the work is incredibly impressive, six of the moving photos are in the running for World Press Photo of the Year.
The Brooklyn-based photographer won the prestigious prize, €20,000 and a solo show at the Amsterdam gallery for his “clarity of vision” portraying the African-American perspective.
The Foam jury says in a statement that Edmonds’ work impressed them for its “very articulate, distinctive style and clarity of vision,” that was “seemingly simple but in essence culturally complex”. They add that his work “stems from a deep understanding of the medium of photography and taps into its modernist history”.
Leica has announced the winners of its Women Foto Project Award, part of its campaign to amplify diverse voices in photography.
The three award winners this year are Matika Wilbur, Karen Zusman and Anna Boyiazis and were selected by a diverse panel of judges ranging from award-winning photojournalists to renowned contributors to the world of photography:
After reviewing hundreds of outstanding submissions, we’re delighted to announce the thirteen winners of the 6th Annual Feature Shoot Emerging Photography Awards. This year’s jury selected ten photographers to exhibit…
The ten photographers chosen to show in East London are Antonio Faccilongo, Rashod Taylor, Mirja Maria Thiel, Ursula Ferrara, Shaun Pierson, Donavon Smallwood, Manon Ouimet, Sergey Pesterev, Alison Luntz, and Renata Dutrée. Together, they span genres and continents, telling stories from the United States, the United Kingdom, Palestine, Germany, Italy, the Netherlands, Russia, and beyond.
Prompted partly by the health crisis, the Carmignac Photojournalism Award has transformed this year into a collaborative project that explores the notion of representation in the Democratic Republic of Congo and spotlights local journalism.
Profiles and photo galleries featuring The 30, a group of emerging photographers nominated by an international list of photography experts.
Established in 1999, The 30 is recognized throughout the professional photography industry as a “go-to outlet to discover up-and-coming photographers” (TIME, 2015), and as a platform that helps emerging photographers grow their careers. Each year, The 30 are selected through a nomination and jurying process that includes the input of established photographers, photography editors, art directors, curators and other photography industry leaders. The 30 was created by the editorial staff of Photo District News magazine.
On Deutsche Börse Photography Foundation Prize’s reproduction of structural inequality, Mohamed Bourouissa’s ambivalent ‘victory’ and the implications for curatorial responsibility
What this amounts to is curatorial malpractice on the one hand, and capitalist oppression on the other – a form of reproducing and perpetuating racial inequality, both in material and ideological terms. A quick, top-level calculation of the monies awarded to just the winners alone (these figures exclude the smaller sums given to runners up) shows that a total of £485,000 has been awarded to white artists (82%), in comparison to £105,000 awarded to artists of colour (18%) – a wildly unequal distribution. Not only this, but it subsequently impacts on the discrepancies in levels of press coverage received, as well as interest from galleries, museums and collectors with implications for their markets and price points of artworks. Clearly no honest observer can say that such devaluation, in every sense of the word, isn’t a problem. And it’s a white problem that needs to be urgently addressed going forward.