Originally trained as a journalist, Barcelona-born Laia Abril expanded her storytelling methods after studying at New York’s ICP. She is best-known for the first chapter of her long-term project A History of Misogyny, On Abortion, which recently won the Paris Photo-Aperture Foundation PhotoBook of the Year Award and has been shortlisted for the 2019 Deutsche Börse Photography Foundation Prize
“You’re always looking for that time where everybody forgets you’re there and becomes themselves. Surprisingly, they do, sometimes to the detriment of what you knew about them,” says Eugene Richards, who has devoted his career to documenting social injustice in America, and injecting himself into intensely personal situations.
Richards’ style is up-close and unflinching, “ironically it’s the process of becoming as not there as you possibly can, if you hang around long enough people don’t care”, he says. Though his photography has been described as poetic and lyrical, he has never thought of himself as an artist. “I went in with some knowledge of photography, but mostly with the idea of providing information,” he says.
The Leica Oskar Barnack Award is one of the most prestigious in the business and, with a top prize of €25,000 plus a Leica M-System (camera and lens), it’s a lucrative one too. This year, 12 photographers have been picked out for the shortlist – Samuel Gratacap (France), Daniel Chatard (Germany), Max Pinckers (Belgium), Ernesto Benavides (Peru), Vanja Bucan (Slovenia), Turi Calafato (Italy), Stephen Dock (France), Mary Gelman (Russia), Stéphane Lavoué (France), Elsa Stubbé (Belgium), Christian Werner (Germany), and Kechun Zhang (China). Benavides has been nominated for Dredges, a series on illegal gold mining in his native Peru; Bucan’s Sequences of Truth and Deception looks at the ambivalent relationship between humans and nature. Calafato’s Amuninni ‘u mari [Let’s go to the sea] shows locals on the beach in Sicily; Chatard’s Niemandsland [No man’s land] documents the tense relationship between the mining industry and environmental activists in the Rhenish region. Dock’s Architecture of Violence was shot in Ireland and records the reverberations of war; Gelman’s Svetlana looks at a community of mentally disabled people in Russia. …