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 …
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.
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.
With so much to see condensed into one city over the course of five days during Paris Photo (09-12 November), you’d be tempted to skip round the 149 galleries lining the elegant, glass-topped halls of the Grand Palais in a couple of hours, or even miss the main event altogether, as many do. That would be a mistake. You won’t get a better snapshot of what constitutes saleable photography in 2017, from the blue-chip North American dealers such as Gagosian, Pace MacGill and Howard Greenberg, to the work of younger artists championed by the likes of Project 2.0, Trapéz and Taik Persons. And eavesdropping on the sales patter can be a real an eye-opener.