Born in 1993 in the Philippines, Ezra Acayan has won the 2018 Ian Parry Scholarship Award for Achievement for his series Duterte’s War On Drugs Is Not Over, which records the fall out from the war on drugs which President Rodrigo Duterte announced in 2016.
Threatening those connected to drug consumption and sales with the death penalty, Duterte urged members of the public to kill suspected criminals and drug addicts, and allowed the police to act with brutality. In the two years since, an estimated 20,000 people have been murdered and a state of emergency has been declared. The United Nations has appealed to the Philippine government to investigate extrajudicial killings and to prosecute the perpetrators, while the International Criminal Court has announced preliminary examinations into killings linked to the campaign.
Tough and hard-hitting, Acayan’s images aim to “illuminate the violent acts carried out in the Philippines as well as the questionable methods of Duterte and the police”.
It’s disconcerting to think how years of work and effort, of countless hours spent practising and honing a skill, can be wrenched away from any of us in just a few minutes of misfortune. It’s also, for any of us used to good health, troubling to consider how reliant we are on the basic functionality of our bodies. A photographer, for example, needs to be able to hold a camera, to have the strength to frame a shot and time the click of the shutter in the heat of the moment. Shorn of that basic ability, what are we left with? Early one morning in May 2015, Sim had to face that exact question.
She was on assignment for a French newspaper, travelling to the Tumen Economic Development Zone, a government-owned complex of Chinese factories on the edge of the border with North Korea. Tumen employed North Korean labourers who, with state sanctioning, would be sent to live and work in the economic zone. The brief was to capture how North Korea and China trade. This place seemed like the perfect microcosm for that complex relationship – the makings of great pictures.
Entering Tumen with her driver and colleagues from Le Monde, she failed to spot a sign that read: “No smoking, photography, or practising driving”. As they approached the factories, the car passed a small group of women in black jumpsuits, knelt by the roadside picking weeds from the ground. Sitting in the driver’s seat with the window wound down, Sim instinctively raised her camera and fired off a couple of shots. “Almost immediately, the women turned around, ran towards the cab, and reached into the car,” she wrote in an article for ChinaFile, recounting events.
The Washington Post picture editor picks out his top five of 2017 – including Peter DiCampo and Austin Merrill’s Everyday Africa photobook
Swedish documentary photographer Loulou d’Aki’s Make a Wish has been a long time in the making. The project, which was shortlisted for the Grand Prix at Lodz Fotofestiwal this year, revolves around the aspirations and dreams of young people across the globe, recorded in a sweeping compilation of portraits and landscapes. Shot alongside commissions for international publications such as Le Monde, The New York Times and Die Zeit, it evolved over a number of years, charting the photographer’s life on the move.
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
Despite an order for his deportation issued on 11 May, Mathieu Depardon remains in Turkish custody, his only contact with the outside world via his lawyer, Emine Şeker – who now has informed RSF that he began a protest hunger strike on 21 May