The creation of a dummy is an integral process for any photographer with aims on publishing their own photobook. It is a visual mockup for a proposed project, created before being sent to the publishers. Organised by La Fábrica in collaboration with Photo London, the Book Dummy Award selects a entry that is renowned for its quality, uniqueness and international scope, the winners of the award will then have their dummy physically realised. The competition encourages photographers from anywhere in the world to submit a physical copy of their dummy, under the rule that no digital copies may be entered. One winner from 20 finalist dummies will then be selected by an international jury. The winner’s work will be published with a print run of at least 1000 copies, and distributed worldwide. Photographers submit entries from all over the world, as in 2017 there were participants from 45 countries and every continent. The winner of the 2017 edition was Iranian-born, Swiss photographer Arunà Canevascini. Nominated as one of British Journal of Photography’s Ones to Watch …
It is difficult to unravel, in many of the stories that Max Pinckers tells, where fiction became unstuck from fact. Or how the characters in his photographs can look back out at the world so boldly, shake their heads at reality as most people see it, and tell stories that fly in its face. But for the Brussels-based photographer, the six curious individuals in his latest book, Margins of Excess – including a boy who compulsively hijacks trains, and a private detective with prosthetic hands – lead the way to understanding documentary photography’s role in the ‘post-truth’ era.
One such character, an American amateur inventor with a mane of silken hair, sat at the kitchen table of his home in Dunnellon, Florida and told Pinckers that he believed he had become the media’s new Osama bin Laden. “My name is Richard Heene. A few years ago I got into a bit of trouble,” said the forty-something showman, detailing the events that led him to end up behind bars.
Belgian photographer Max Pinckers has won the prestigious Leica Oskar Barnack Award with his series Red Ink. He receives €25,000, plus a Leica M camera and lens.
Red Ink was shot in North Korea while Pinckers was on assignment for The New Yorker magazine, accompanying journalist Evan Osnos on a four-day trip in August 2017 – the height of the propaganda war with the US. Pinckers’ access to the country was heavily stage-managed by the North Korean government, which carefully set up scenes for him to photograph. Knowing that this would be the case, Pinckers shot the images with a flash, creating a sense of the artificial that tipped the scenes presented to him into the surreal.
It’s six years since the inaugural edition of Unseen Amsterdam arrived with the mission to shake up the art fair model, focusing on emerging photographers and collectors, and instilling a welcome dose of fun to proceedings. And despite its beginnings during difficult times for arts funding, the ‘fair with a festival flair’ has largely succeeded, developing into something more ambitious than a glorified trade show, with its own public programme and a city-wide celebration of the medium in one of the world’s great photography capitals.
The emphasis remains on championing new talent, and with this in mind, the latest addition to Unseen is Futures, a cross-European photography platform bringing together 10 cultural institutions from around the continent, each with their own talent programmes.
Foam founder Marloes Krijnen, curator Yumi Goto, and photographers Rob Hornstra, Mark Power and Mariela Sancari highlight the photobook that have impressed them most so far in 2018 – including Senta Simond’s Rayon Vert, Christian van der Kooy’s Anastasiia, and John Myers’ The Portraits
“Tu sais qu’est-ce que c’est le rayon vert?” Marie Rivière’s listless character Delphine asks, her legs swinging, in Éric Rohmer’s 1986 film Le Rayon Vert [The Green Ray]. The film – a portrait of its main character’s halting search for summer romance – was based on Jules Verne’s 1882 novel of the same name. While in theory its title refers to an optical phenomenon – in which the appearance of the sun as it rises or falls beyond the horizon creates a brief flash of green, and with it a supposed moment of mental clarity for all those who see it – in reality its subject matter is far more elusive. “I related the ‘rayon vert’ phenomenon to the process of photography – this special and quick moment that happens rarely,” Swiss photographer Senta Simond explains, referring to her project of the same name. Her series, which will be published by Kominek and shown at London’s Webber Gallery soon, adds a new, compelling layer to the meteorological event/Jules Verne/ Éric Rohmer mix of references. Indeed, Simond, a former student of ECAL, University of Art and Design Lausanne, from which she graduated last summer, first encountered the concept via the 1986 film.
“I recently did a talk for students and none of them were taking any pictures or trying things out,” says Jack Davison, a self-taught photographer from Essex, and one of BJP’s Ones To Watch talents in 2016. “They were all writing down ideas and planning projects, but not shooting. I kept telling them, ‘You need to make all your mistakes now, before you start showing people’.”
Growing up, his dream was to become a marine biologist, and when it came to choosing a degree subject, he opted for English literature and the University of Warwick. But he was also interested in photography and, curious about the trend for sharing photographs online, grew his Flickr profile and developed his technique all the way through his studies. “Experimenting is a big part of my work,” he says.
Magnum Photos just completed its annual AGM and has announced five new photographers are to join as Nominees – Rafal Milach (Poland), Sim Chi Yin (Singapore), Lua Ribeira (Spain), Gregory Halpern (USA), and Lindokuhle Sobekwa (South Africa).
Under Magnum’s system, photographers first join as Nominees, before graduating to become Associates a couple of years later. After a spell as Associates, they then become full Members – a status which confers life-time membership of the world-famous agency. Magnum has also announced that previous Nominees Sohrab Hura (India) and Lorenzo Meloni (Italy) have become Associates.
It was while working as an art director that rising talent Justine Tjallinks decided she wanted to make her own images. Born in a small village in the east of the Netherlands, the 32-year-old moved to the Dutch capital to study at the Amsterdam Fashion Institute before immersing herself in the commercial world, working on several leading fashion publications.
Out of a 1200km-stretch of grassland in northern Kazakhstan, glistening skyscrapers shoot up into the landscape. Among the impressive buildings rising out of the otherwise sparse terrain are two identical golden towers, a fantastical presidential palace, and a looming centrepiece that blossoms into a large golden sphere. It packs quite a visual punch, but what’s most impressive is that it’s all been built in just 15 years.
Astana became the capital of Kazakhstan in 1997, and has since developed into one of the most modern cities in Central Asia. It’s futuristic buildings are designed by world-famous architects such as Norman Foster and Zaha Hadid, their work paid for via the country’s recently-discovered oil reserves.