“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.
“It was a really tough story to cover, because the subject wasn’t there,” says Chris McGrath. “There was so much press there, and everyone was having the same problem – I was talking with other photographers and the Getty Images office about how to tell the story. It became every day going to the same place, standing, trying to get a picture that said something.”
The story was the disappearance of the disappearance of Jamal Khashoggi and the problem was exactly that – a Saudi Arabian journalist, author, and editor, who wrote for The Washington Post, Khashoggi had gone to the Saudi Arabian consulate in Istanbul on 02 October 2018 and vanished. Lurid reports that he’d been killed and dismembered soon circulated, but his body has still not been found and initially, the Saudi Arabian government denied his death. There was, as McGrath says, very little to photograph.
Then on 15 October, Saudi and Turkish officials were allowed in to inspect the building, and McGrath, along with many other journalists and photographers, went along to photograph the development. “We didn’t know when the inspectors would arrive, but everyone was there,” says McGrath. “All the press was trying to get something, and this guy was holding us back.”
Set up 14 years ago, Getty Images’ Reportage Grant awards “front-line photojournalists from around the world for projects with a strong visual narrative”, aiming to help them pursue long-term documentary projects. This year, the three selected photographers have won with very different projects – Giulio Di Sturco with Aerotropolis, The Way We Will Live Next; Léonard Pongo with The Uncanny; and Rose Marie Cromwell with King of Fish.
Nadia Shira Cohen has won the $10,000 Women Photograph + Getty Images grant for her work on the abortion ban in El Salvador – and the five grants of $5000 awarded by Women Photograph with Nikon have gone to Tasneem Alsultan, Anna Boyiazis, Jess T. Dugan, Ana Maria Arevalo Gosen, and Etinosa Yvonne Osayimwen.
Nadia Shira Cohen’s series Yo No Di a Luz documents the effect that the complete ban on abortion in El Salvador has had on women – particularly on those forced to give birth to children conceived as a result of rape. “Doctors and nurses are trained to spy on women’s uteruses in public hospitals, reporting any suspicious alteration to the authorities and provoking criminal charges which can lead to between six months to seven years in prison,” writes Shira Cohen. “It is the poorer class of women who suffer the most as doctors in private hospitals are not required to report.
This year, he says, all the images have been thoroughly checked before the shortlists have been announced, let alone the winners. “All the checking is already done – all raw files, where the images were shot, everything,” he tells BJP. “We know how important it is that everything can be trusted, and we keep asking questions until we are satisfied. We wouldn’t announce the shortlists unless we were.”
Long before the public sat up and took notice of the staggering number of refugees risking everything to make their way to Europe, Alessandro Penso had made migration to the continent the focus of his work. Since 2009 he has been documenting the conditions of refugees who have attempted to cross borders in search of safety and the hope of a better future for themselves and their families. Beginning with detention centres in Malta, which many migrants had mistaken for Penso’s homeland of Italy, the photographer then travelled to Bulgaria where, between 2012 and 2013, the number of refugees surged from 1700 to 10,200. He followed migrant agricultural workers in Italy as they moved from one harvest to another. He also accompanied young adults from the Middle East trying to make their way from Greece (which refuses the majority of asylum seekers’ applications), to its neighbouring countries and beyond, capturing the moment when one, Mostafa El Mouzadhir, was deliberately hit by a car in a hate crime, sustaining multiple injuries. When Penso visited him in …
“The recipients of the 2017 Getty Images Editorial Photography Grants are working at the cutting edge of photojournalism, ensuring that often ignored global issues are brought to the forefront of public consciousness,” said Hugh Pinney, Vice President of News, Getty Images. This year’s winners see projects taking place in war torn Mosul, documenting the unrest in Venezuela and refugees seeking new homes in Europe.
The Visa Pour l’Image festival returns for the 29th time – to “turbulent time”, in which “photojournalists are obviously needed, and play an essential role which is now more important than ever” as the co-founder and director general Jean-François Leroy puts it
Technology expands perception. Air travel turns a journey of thousands of miles into a matter of hours. Google Maps shows us the way through unfamiliar city streets. Over Skype we can see and hear our loved ones wherever we and they are. But our new abilities have come at a price. Our physical senses have deadened. Laura Thompson came across this conception in a study by Claude Levi Strauss, which described how members of a particular tribe could see Venus in daylight. The anthropologist noted that this was a skill that Western sailors had had in the past, but lost over time since they no longer used it to navigate. “I was surprised to learn that you aren’t born with an innate ability to sense things,” says Thompson, whose series Senseless was shortlisted for the 2016 D&AD Next Photographer Award in partnership with Getty Images. “It develops as you’re a child, your senses adapt to the specifics of your environment. Advances in technology bring passivity. Certain parts of our brains don’t develop because technology is …
Getty Images and Instagram today launched three new grants, worth $10,000 each, to support photographers using the online photography platform “to document stories from underrepresented communities around the world”. Three winners – judged on a demonstrable body of documentary work on their Instagram account – will be selected by the Getty Images Instagram Grant. Each will be given financial support and mentorship to amplify the project, before Getty hosts an exhibition at the Photoville photography festival in New York City this September. “We are inspired every day by the work shared on Instagram by both established and aspiring photographers,” says Amanda Kelso, director of community at Instagram. “Photographers everywhere are experimenting, stretching their creativity and offering diverse perspectives. This grant captures the global enthusiasm from photographers to continue to push their craft to new levels.” “Photographers in all corners of the world use Instagram to share stories that otherwise rarely come into focus,” says Elodie Mailliet Storm, Getty Images senior director of content partnerships. “We want to reach communities that are outside of mainstream media.” The judges are Kira Pollack, director of …