The inaugural award calls for entries from unpublished photographers, with the winning work to be edited, designed, and distributed by the ICP/GOST imprint, along with an exhibition at ICP’s new space in New York
London College of Communication and pic.london launch a public programme of workshops for recent graduates that puts collaboration at the fore
“Throughout my decade of coverage, the goal has always been to humanise this complex issue of immigration,” says John Moore, who’s nominated image from June 2018, Crying Girl on the Border, became a symbol of the families pulled apart by Trump’s “zero tolerance” immigration policy.
“I think that today, we need to be able to tell stories in differently, to be able to connect to as many viewers as we can,” says World Press Story of the Year-nominated Pieter Ten Hoopen. “We’re heading towards a new phase. Before, a single image could become iconic for a whole war, or a situation of despair. Now it’s different, and I think we need to be able to tell stories in a more sensitive way.”
Hoopen’s nominated photographs for World Press Story of the Year follow the movement of thousands of Central American migrants who joined a caravan heading to the United States border between October and November 2018. It is estimated that over 7,000 people – at least 2,300 of them children – joined the trek, making it the largest caravan of migrants in recent history, according to UN agencies.
“Ideally a [World Press Photo] Picture of the Year would be surprising, unique, relevant, memorable,” says Whitney C. Johnson, vice president, Visuals and Immersive Experiences, at National Geographic, and jury chair for World Press Photo’s 2019 contest.
This year John Moore has won that top spot, with an image showing Honduran toddler Yanela Sanchez crying as she and her mother, Sandra Sanchez, were taken into custody by US border officials in McAllen, Texas, USA, on 12 June 2018.
This year World Press Photo also added a Story of the Year to its awards, and that prize has also been won by a project on immigration, which was shot by Sweden-based, Dutch photographer Pieter Ten Hoppen. His series shows people travelling with the largest migrant caravan in recent history, which left San Pedro Sula, Honduras on 12 October and gathered as many as 7000 people on its way to the USA, according to UN agencies – including at least 2300 children. Shot in soft colours, it focuses in on individuals in the caravan, and moments of beauty in their lives.
Offspring Photomeet will return to Space Studios in Hackney for its sixth annual portfolio review on 7th and 8th June, offering one-on-one sessions with experts from leading galleries and publications, as well as panel discussions with Chloe Dewe Mathews, Alba Zari, and Ramon Pez.
Participants can discuss their portfolio during a choice of either four or eight 20 minute slots with their chosen experts, and the chance of winning the Best Portfolio Award. Reviewers taking part include The Guardian’s Caroline Hunter, Kate Edwards, and Fiona Shields; Save the Children’s Nina Raingold and Ivy Lahon; Mother’s Julie Thymann; and BJP’s Simon Bainbridge and Diane Smyth. Prizes include an exhibition at The Print Space in Shoreditch, as well as a feature in the Royal Photographic Society’s printed journal.
“The photographers we have selected who are part of the exhibition are the vanguard – they are the next generation,” says Brendan Embser, managing editor of Aperture. He’s talking about the professional finalists in this year’s Sony World Photography Awards, which he helped judge alongside three other photography experts: Emma Lewis, assistant curator, Tate; Liu Heung Shing, founder of the Shanghai Center of Photography; and Isabella van Marle, head of artist & gallery relations at Unseen Amsterdam.
The Sony World Photography Awards are divided into four categories – professional, student, youth, and open – which this year received over 326,000 submissions from 195 countries and territories. The shortlisted work will go on show at the 2019 Sony World Photography Awards Exhibition at Somerset House, London, before going on tour around the world; this exhibition will also include a section dedicated to work by Nadav Kander, who has been awarded a prize for his Outstanding Contribution to Photography.
Worldwide, one in ten people do not have access to clean water. Vivianne Sassen collaborates with WaterAid and
From the star-studded hills of Hollywood, to Ukraine’s military camps, Russia’s Caucasus region, and the gloomy streets of Thatcher-era England, the programme for this year’s Portrait(s) festival covers a wide breadth of both geography and context. The French photofestival dedicated to portraiture returns to Vichy for its seventh edition this summer, with exhibitions by Philippe Halsman, Tish Murtha, Michal Chelbin, Bastiaan Woudt, Turkina Faso, Benni Valsson, Ambroise Tézenas, and an intriguing show about selfies, curated by Olivier Culmann.
Selfies, Equal/Egos presents a mixture of amateur photography and artists who explore the phenomenon in their practice. Both serious and offbeat, the exhibition examines the mechanisms of virality, and the repetitive nature of the image economy in a digital age.
One winter night at a charity shop in Paris, a young Afghan refugee named Zaman arrived at the store. He had travelled for sixteen months from Kabul in a flimsy pair of flip flops, and was looking for a new pair of shoes. When presented with the selection of footwear on offer, Zaman said, “Not ugly sneakers – sneakers like Jay-Z”. This anecdote was the starting point for photographers Ambroise Tézenas and Frédéric Delangle, leading to a project that questions the social function of clothing for refugees. Sneakers like Jay-Z was commissioned by the charity Emmaüs Solidarity – who currently run over 600 second-hand shops in France – and is the winning project of the inaugural Ooshot Award. The Ooshot Award is the first photographic prize dedicated to commissioned photography. Valerie Hersleven, founder of the award, wants to break the boundaries between art and commercial photography, pointing out that some of the greatest photographs in history were made under a commission. One of her favourite images, Tears by Man Ray, for example, was created for the mascara brand …