Hayati, meaning “my life” in Arabic, reflects on photographer Karim El Maktafi’s dual identity as a second-generation Italian born to Moroccan parents. The images were taken in both Italy and Morocco, and are all shot on an iPhone SE [Special Edition] – for a couple of reasons.
El Maktafi got into image-making via smartphones as a teen, after using them to take photographs of his friends. After graduating from the Italian Institute of Photography in 2013, he decided to return to the device with a more trained eye, when he decided to shoot Hayati.
He also uses a smartphone camera is because it’s less intrusive. El Maktafi’s family were against him photographing them, and in general don’t approve of photography as a career, which is why their faces are either cropped out or disguised by rays of light in the project. Using a smaller camera proved gentler way to record them, and the many other people involved.
Michael Danner’s book project Migration as Avant-Garde has won the prestigious Dummy Award at the Fotobookfestival Kassel. His mock-up will now be produced and published by Kettler, Germany, the company behind Mathieu Asselin’s hit book Monsanto: A Photographic Investigation.
Born in Reutlingen, Germany in 1967, Danner studied photography at Fachhochschule Bielefeld in Germany and the University of Brighton in the UK, and lived in London from 1997 to 2000. He’s now based in Berlin, where he lectures in photography at the Berliner Technische Kunsthochschule. He has previously published three monographs and seven artist’s books.
His project “examines the new ways in which migrants are pursuing their hope for a better life”, he states, adding: “The term ‘avant-garde’ stands for progress and the way of a pioneer. Driven by the desire to give their lives meaning, and guided by their own integrity, migrants bring new perspectives and points of view to our society. The origin of his work was the reading of a 1943 text by the philosopher Hannah Arendt.”
Work by 120 young photographers from around the world is on show in London’s House of Vans from 10 May – 03 June. Selected from an open call for the Palm Photo Prize, the show features one image per photographer and, say the organisers, “places an emphasis on raw, engaging work”. The winners will be announced online on 04 June, having been picked out by a judging panel comprising: Karen McQuaid, senior curator at The Photographers Gallery; Joshua Coon, director, content marketing & production at Kodak; Jack Harries, editor at The Heavy Collective; and Andrea Aurland, editor in chief at Huck Magazine.
Now in its third year, the Sicilian photo festival is tackling big issues under a theme of “Communication in uncertainty and chaos”. The idea is telling of its locale: a crucial crossing point in the Mediterranean and an entry gateway to Europe, Sicily has been at the centre of the migrant crisis as people cross the sea in search of peace and a better life. The photographs in this series cover ideas of identity, politics, war, nationality, feminism and more.
“Salvatore Vitale’s extraordinary project How to secure a country is a forensic examination of national security in one of the safest countries on the planet. This work challenges the concept of power and control, shining a light on wider issues of mass migration and fear,” says Emma Bowkett, director of photography for the FT Weekend Magazine and a jury member for the PH Museum 2017 Grant this year. Along with Sarah Leen from National Geographic, Ihiro Hayami from Tokyo Photography Festival, and the photographer Alejandro Chaskielberg, she picked out the Italian photographer for the top prize, for his project exploring the National Security Program in Switzerland, his adopted home. Two years in the making, the series has been funded by a Swiss Arts Council Pro Helvetia grant, and Vitale has scooped £7000 by winning the PH Museum prize. “Salvatore Vitale has managed to gain access to one of the most difficult places to photograph; border control,” comments Hayami. “He tries to capture, or examine, the abstract concept of security through the fragments of scenes and successfully presents, …