Chrystel Lebas has won the Kraszna-Krausz Foundation Photography Book Award, beating off the two other shortlisted photographers – Stephen Gill and Dayanita Singh. Lebas won the prize for Field Studies: Walking through Landscapes and Archives, which she published with Dutch outfit FW: Books. Field Studies is framed by the work of 20th century botanist Sir Edward James Salisbury, particularly his glass plate negatives from the 1920s, retracing his steps and making new images in the same Scottish landscapes. Gill was shortlisted for Night Procession, which he self-published through his imprint Nobody Books; Singh was shortlisted for her multi-book project Museum Bhavan, which was published by Steidl.
In July 2016, Diamond Reynolds’ partner was shot dead by a police officer during a traffic-stop in Minnesota. Reynolds used Facebook Live to broadcast the moments after the shooting, creating a video that became widely circulated, amassing over six million views, and which was also played to a jury as evidence in June 2017 – in a court case which saw the officer acquitted of all charges. In November 2016, Thompson invited Reynolds to collaborate on a project that would portray her in a different way to the original, publicly-consumed image. The resulting 35mm film, autoportrait, shows Reynolds apparently deep in thought and seemingly unaware of the camera, and is presented as a large-scale installation without a soundtrack. First exhibited in London’s Chisenhale Gallery in 2017, it’s been picked out of the winner of the £30,000 Deutsche Börse Photography Foundation Prize 2018, over the three other shortlisted artists – Mathieu Asselin, Rafal Milach, and Batia Suter.
It’s a prestigious prize, which earns the winner an exhibition at Photo London plus a photobook published by the well-regraded specialist MACK Books. This year it’s gone to Hayahisa Tomiyasu for his book dummy TTP. Shot from the window of his eighth-floor student flat in Leipzig, Germany, TTP shows a park with a ping pong table, shot at various times of day and in various seasons, and showing different protagonists each time. The table is used as a tischtennisplatte (table tennis table, as a sun lounger, as a climbing frame, as a skate obstacle, and as much more, and, states MACK Books “thanks to Tomiyasu’s sustained curiosity, we observe the habits, humour, and idiosyncrasies of human behaviour”.
Work by 120 young photographers from around the world is on show in London’s House of Vans from 10 May – 03 June. Selected from an open call for the Palm Photo Prize, the show features one image per photographer and, say the organisers, “places an emphasis on raw, engaging work”. The winners will be announced online on 04 June, having been picked out by a judging panel comprising: Karen McQuaid, senior curator at The Photographers Gallery; Joshua Coon, director, content marketing & production at Kodak; Jack Harries, editor at The Heavy Collective; and Andrea Aurland, editor in chief at Huck Magazine.
First awarded back in 1985, the Kraszna-Krausz Foundation Best Photography Book prize is one of the oldest in the business. Previous winners include Sergio Larrain (with Vagabond Photographer in 2014), Susan Meiselas (with In History in 2009), Boris Mikhailov (with Case History in 2000), and Eugene Richards (with Cocaine True, Cocaine Blue in 1994); this year three contemporary image-makers have made the shortlist – Stephen Gill, Chrystel Lebas, and Dayanita Singh. Gill has been nominated for the book Night Procession, which he self-published through his imprint Nobody Books. Shot using motion-sensor cameras in rural southern Sweden, where Gill moved with his family in 2014, the book reveals nocturnal animal activity in the dark forests. The book also includes an essay by Norwegian writer Karl Ove Knausgȃrd, who is best-known for his series of six autobiographies, Min Kamp [My Struggle]. Chrystel Lebas won a place on the shortlist with Field Studies: Walking through Landscapes and Archives, which is published by Dutch organisation FW: Books). Her work retraces the steps of British botanist Sir Edward James Salisbury, creating new images in the same …
Poulomi Basu’s Centralia is no easy read. The situation it unravels − a protracted fight for land and resources in central India − is not only complex, but also largely unheard of, especially in mainstream Western media. And Basu, reflecting on contemporary documentary practices, refuses to simplify it into a readily digestible format. Instead, she wishes to reflect the bewildering atmosphere that reigns in the region. “The adage ‘The first victim of any conflict is the truth’, is particularly apt here,” she says. “The conflict, with its many actors all occupying opaque roles, has created a space with its own internal logic and landscape.” Thus, she hopes to take the audience “on a journey to a place where truth and lies, reality and fiction have become blurred”.
“In Centralia, Poulomi Basu continues to focus her gaze on the interrelation between violence, state power, and gender,” says Monica Allende, member of the jury for the PHM grant. “By intertwining multilayered fictional narratives she aims to challenge the viewer’s perception of reality, as well as established neocolonialist histories. “In an era of post-truth and fake news, where we battle for control of “official” narratives, Basu’s work forces us to reflect on our own prejudices and educated preconceptions. Despite addressing such complex issues, the work is both illuminating and engaging – a testament to her innate ability as a documentarian. The result is a beautifully executed story which is thoroughly deserving of the winning grant.”
Yolanda Y. Liou is a self-taught photographer who began taking photographs in 2011 while backpacking through Europe, after her mum gifted her with a digital camera. Having had no initial intention of becoming a professional photographer, three years later she stepped into fashion photography. Despite it being challenging and competitive at times, Liou is constantly enchanted by the world of photography, and her work has been featured in GQ, Marie Claire, Elle and Grazia. Having moved to the UK seven years ago, Liou has been struck by her sense of belonging, particularly in the capital’s vibrant and exciting fashion industry. Her portrait is an attempt to show people the Britain she sees; full of people, laughter and opportunity. Can you tell me about the portrait you entered into Portrait of Britain 2018? What is the story behind it? Po Tseng Ho is a hair and makeup artist. The first time we met was while shooting an editorial about diversity. He was the hairstylist on the shoot and we immediately got on very well. He has …
Matt Hussey’s portrait is of a woman named Taya. Having met Taya through a friend, Hussey was struck by her determination to turn a history of abuse into an empowering and meaningful future. The portrait Hussey and Taya created together evokes rebirth and survival, incorporating water as a symbol of peace and renewal, but also of danger and uncertainty. Taken from an ambitious personal project called ‘The Photographer’s Journey’, Hussey’s portrait of Taya was shot as part of a self-imposed challenge to photograph someone every day for a year. Two and a half years later, Hussey is still working on that project, and now has hundreds of portraits to show for it. Specialising in portraiture, with a focus on environmental and documentary portraiture, Hussey seeks to incorporate people’s environments into his work, with a look to take a wider view of his subjects’ identity, both literally and figuratively. Can you tell me about the portrait you entered into Portrait of Britain 2018? What is the story behind it? The portrait is of a woman named …
Alighting at Peckham Rye train station in south London, a short walk across a busy market street takes you to the Bussey Building complex, a former cricket-bat factory that is now home to an assortment of bars, music venues, yoga studios and art spaces, including the Copeland Gallery. This bright exhibition space is once again the main site of Peckham 24 festival of contemporary photography, celebrating its third edition this year and running over the weekend of 18 to 20 May to coincide with Photo London – more than the 24 hours with which it launched and gave it its name. “Last year we were literally pushing people out of the door at midnight,” laugh the co-founders, Vivienne Gamble, whose Seen Fifteen gallery is in a nearby space, and artist Jo Dennis.