Laia Abril, Nina Berman, Sohrab Hura, and Carmen Winant are all in the running for the prestigious Paris Photo/Aperture Foundation Photobook of the Year Award, which will be announced on 09 November at Paris Photo.
In total ten books have been shortlisted for the award; in addition, 20 books have been shortlisted for the First Photobook, and five for the Photography Catalogue of the Year. All the shortlisted books will go on show at Paris Photo and at the Aperture Foundation in New York, then tour to various venues across Europe, as well as being featured in the Autumn 2018 issue of The Photobook Review. In addition the Photobook of the Year winner will receive $10,000.
While most photographers value their time behind the camera, Alexandra Catiere’s love for the craft lives in the darkroom. “For me, the beauty of a picture doesn’t lie in the beauty of the subject matter,” she says. “I’m more interested in pushing the boundaries of printmaking, and how far you can go from reality.”
Catiere always knew she wanted to become an artist, and in photography found a craft that was both independent and experimental. “Taking pictures is fascinating, but for me, it’s not enough,” she says. When she was 21, she built a darkroom in the bathroom of her house in Minsk, Belarus, where she spent most of her time developing photographs of still lifes, seeing how far she could push a gelatin surface.
The last time we spoke to Vasantha Yogananthan he was preparing to release chapter one of his hugely ambitious seven-part project A Myth of Two Souls. A project that he started in 2013 with his first trip to India, the collection is a photographic re-imagining of one of the most significant Hindu texts, the epic poem Ramayana. Dating back to the 4th century, the Ramayana still holds tremendous significance in India, with its allegorical, mythical stories helping convey concepts such as love, duty, violence, loyalty and divinity. Yogananthan had always been familiar with the Ramayana growing up – his Sri Lankan father told him stories from it during his youth in Grenoble, France, and he picked up comic book adaptations of it as a teenager. But it was only when he visited India that he realised just how interwoven the analogies presented in Ramayana are with the experience of everyday life on the subcontinent, and just how thin the line can be between mythology and reality.
When Vasantha Yogananthan was a child growing up in France his Sri Lankan father would tell him stories from the Hindu epic poem the Ramayana. Tales of heroism, filial duty and love full of magic, allegory and divinity, these stories were at the time just that – stories. But when Yogananthan first visited India in 2013, he came face-to-face with the pervasiveness of myth and legend on the subcontinent. In a land steeped in ancient history, folklore and veracity are deeply intertwined, and attempting to disentangle the two can be futile. Eventually, Yogananthan decided to stop trying. Historians and archaeologists estimate the composition of the Ramayana to the 4th century, and it is at once a foundation stone of Indian literature, one of Hinduism’s key texts, and a model for familial relationships. It follows the journey of Prince Rama, who travels the length of the country to get his wife, Sita, back when she is abducted by the demon Ravana. It’s a complex story, and its characters have become embodiments of virtue and honour in Indian society, but the story touches …